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John Blankenship

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Everything posted by John Blankenship

  1. Ken - does the camera have any RF gack on it such as a Teradek?
  2. FWIW, I've never encountered that issue with 7.30P. Maybe I missed it; what block are your transmitters on?
  3. As I'm understanding it now, when you said the transmitters "will not scan" you meant will not properly adjust through the transmitter's allowed frequency range. Scan typically refers to the scan function (which the receivers have, but not the transmitters) that will automatically scan through the specified range and select the best frequency. Here's the info on crossing the 7.30x barrier (this is in the firmware package): ----- WARNING: SOFTWARE UPGRADE / DOWNGRADE TRANSITION There is a transition point at version 7.31. If you have 7.30x or lower in your TRX you may install 7.30x. If you have 7.31 or higher you must not downgrate to any lower version. as the older software does not know how to handle the newer power amplifier system associated with the power-roll feature. If you upgrade OR downgrade across this 7.31 boundary you will likely experience low output power and will need to send your TRX to Zaxcom to be re-calibrated. This warning does not apply to IFB100'2 or ZFR's. ----- I believe the latest 7.30 version is 7.30P FWIW, I'm unaware of any software version that causes the issues you outlined -- that's not to say it might not exist as Zaxcom issues many updates and they add new features and improve others and sometimes unexpected glitches show up and then Howy (programmer extraordinaire) will promptly issue an updated version. Keep in mind, most of the incremental versions are beta and should only be implemented by those willing to beta-test them. If you've already crossed the 7.30 barrier in either direction, there might be issues. I thought they were only power associated, but I'm wondering if that might be related to the issues you're having. If it's the cause, you need to send the units to Zaxcom for recalibration. 7.31 and above is when Zaxcom changed and improved how power is handled, but crossing the barrier typically requires a trip to the mothership. What block are you in and specifically what software versions are you going from and to? Include all firmware numbers and letters (including zeros). Have you spoken with Zaxcom support, or emailed them? Carefully itemize what you've done and what the issues are and they'll likely have good advice and possible solutions for you. On to important things, do you prefer Guiness or Smithwicks? John
  4. Step One: Identify yourself My initial reaction to offer you help over the phone quickly changed when I realized you were just a monolith. Some thoughts: 1). Double-Check the manual to see if you have everything set up properly. 2). For any troubleshooting help always specify firmware version(s). 3). Carefully elaborate any and all troubleshooting steps taken. 4). The receivers can search; the transmitters need to have their frequency set manually (or remotely if you have Zaxnet). 5). If the transmitters are locking up, you may not be using a compatible card. SanDisk and Transcend are recommended. Good luck, M.
  5. What Birthday Boy, Jim, said. The key to this and many other gigs is to approach it in a way that you're not out anything (except maybe some mental planning) if it falls through. Avoid advancing any money of your own or sending your gear ahead of time and don't let them anywhere near your bank account or other personal numbers. Even if it's legit, it could still fall through due to many factors including the logistical complexity, and you should plan not to be out anything in either eventuality.
  6. Is there something not working correctly with your current firmware or a feature you desperately need from the newest version? Do you have a good reason to upgrade, or is it "just because it's there." "If it ain't broke don't fix it!" is usually prudent advice.
  7. FWIW, Zaxcom transmitters can adjust band limits in 6 mHz steps via the Factory Menu. Therefore, a block 25 transmitter can be set to only tune from 656 mHz to 662 mHz. 656 to 657 is part of the 653-657 range available to licensed users and 657 to 662 is within the 657-663 range available to unlicensed users and White Space Devices. In the Extended Menu the transmitter's output can be set to 25mW which in practical use should be within the legal limit.
  8. Some ways (depending largely upon your access inside the chassis) -- 1) Cover the circuit boards with paper, taped in a way that serves to seal them off 2) Use a vacuum to suck up the cuttings as you drill 3) Form a "containment cup" taped to the chassis behind the hole you're drilling You could possibly combine 1&2 or 1&3.
  9. With a fear of stating the obvious... An email to Cinela should get you the definitive answer.
  10. Agree with the advice already given. Remove the "volunteer" offer as that only serves to undermine working pros who, as others have mentioned, are your best resource.
  11. If it's a student film, what school do they represent, because they should be notified.
  12. In large part it's a testament to how much acoustics matter -- in most cases more than the mic choice.
  13. The clincher is that it is probably just one or two of the eight cells inside that has gone south. You might want to talk with Pete V. as he has played with the internals of those -- I don't know if he offers repairs or not.
  14. The original topic? Professionals use professional gear. Though most clients don't ask, if they do it's typically to determine if someone is an accomplished pro or a clueless newbie just with a bag and a boom. If you conduct yourself as a professional it instills confidence and gear becomes a secondary matter. If you come across as experienced, when you get to the set, they'll expect top notch gear and top notch work, otherwise what you're doing the job with only comes up as a matter of interest. Sometimes if I have some new tech, another crew member might be curious to know more about it. On gigs with multiple crews, it can be good to have consistency in work flow, but most top tier gear can deliver that. So as to the original question, "Would you say having certain brand names in your kit list increase the chances of you getting hired?" If you're a professional with top notch gear, seldom, if ever, does it make a difference. Are there exceptions to every rule? Of course, but there are too many variables to worry about it Choose the right tools for the job and you'll be fine.
  15. Can someone tell me where I can get an OS/2 upgrade for my PS/2?
  16. You can buy a new barrel. There are two lengths available so be careful to get the correct length. They used to be available for a really reasonable price, but like many things, they've gone up over time. Here in the U.S., Redding Audio is the distributor, and on their Schoeps replacement parts page (https://www.reddingaudiostore.com/replacementparts.html) they only list the 99mm version. Their price for the Gray finish (CMCg) barrel is $66, and for the nickel version is $99 (CMCni). I don't know who the nearest dealer to Glasgow would be. I recall that price being more than twice what I paid for a nickel sleeve -- yep, it's been a good while since I replaced one.
  17. And note that Lectro also makes a mute switch.
  18. Make sure you get a Cinela suspension designed for the specific model mic, it makes a difference. I have tons of Rycote stuff and for quite a while resisted going the Cinela route. I considered Cinelas to be overpriced -- until I started using them. (Thank you to a friend who made it an easier leap.) The improvement in lower handling noise is striking! Yes, there is that much difference.
  19. Have you looked in the manual to determine what is on each pin of the connector?
  20. Not able to help much there -- the main software I use is a calculator. The internet has a wealth of info on room acoustics and design. A Google search will reveal all manner of resources. Also visit: https://auralex.com/acoustics-101/
  21. Joel, Do you know for sure you need bass traps? They're for diminishing standing waves in specific frequencies or ranges. You left out what is one of the most critical aspects of the drawing -- the dimensions: length, width, height, and also the variation of the angled wall. Is the box-shaped foyer open? If so, then those dimensions matter, too. Once you have a plot of the room, it'll become clearer how to proceed with interior acoustics -- a whole different thing than the sound transmission issue this thread addressed. Naturally, being in the room and plotting it thoroughly with proper gear is by far the best approach, but it's still good to have specific measurements on paper, to know what you may be dealing with standing-wave-wise. Other than two speakers on stands, your diagram doesn't address how sound reinforcement will be handled -- that figures into the equation. Many smaller speakers can distribute sound more evenly and require less sound volume from the main ones which might be part of the culprit where the neighbor's issue is concerned.
  22. Forgive me as I become pedantic for a moment -- and then, hopefully helpful. Not disagreeing with anyone else, just adding to the info pool: "Soundproofing" is a term this is often misunderstood and even more often misused, although applied here it's closer to its real meaning. "Soundproof" is similar to the term "waterproof." Few things are absolutely waterproof as it depends upon so many qualifying factors, be it amount of immersion, pressure, exposure duration, etc. What we're talking about here is sound attenuation, and not unlike the more appropriate analogy "water resistance" it's a matter of degrees. Sound reflection, sound absorption, and sound dispersion are an entirely different matter (although still related) that deals with how frequencies bounce around within a room and interact with each other. Quite often, when someone asks about "soundproofing" these internal acoustic characteristics are actually what the person is talking about -- however, not is this case. To attenuate low frequencies the two prime principles are mass and decoupling -- ideally, both. For high frequencies it's blocking air flow. All the frequencies in between those extremes are on a continually sliding scale. In a case like this it's often low frequencies that tend to make its way through structures, the frequency range of offense rising appreciably through windows (lacking the mass). Yes, you need to have mass in your church to help solve this issue (ohh -- bad pun alert... too late!). Decoupling is requiring the offending frequencies to pass through one surface with a given type of attenuation and then through another surface with a different one. Think: thick wall / air space / another thick wall. So here: thick panel / air space / thick panel -- sealed from any air flow. Maybe this helps.
  23. That sounds like a camera setting that burns in the time code. The solution for the future is: 1) Know your settings. 2) Do a full-on workflow test prior to shooting. If you want it to not be on your current footage, your main solutions are either a graphic that covers it or to crop the image.
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