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Sound Intuition

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Everything posted by Sound Intuition

  1. The Strike Is Over! SAG-AFTRA & Studios Reach Deal On New Three-Year Contract
  2. All things must pass. Lectro announced today they have offically discontinued the venerable 411A due to obsolete parts no longer being available. It was a work horse in the industry for many years. When all else would fail you could always reach for the 411.
  3. Is anybody using the RF Explorer with OS Catalina 10.15.7 ? The RF Venue site says the latest software version for the Explorer is not compatable with Catalina and wants you to download VirtualBox to use it. I think you can also download Touchstone Pro and use it with the latest Software. If you are just using it to do a location survey the $50 for the Pro version might not make sense. I see there is the standard version of Touchstone which is free but seriously lacking in features. Any suggestions for a first time user would be greatly appreciated. Thank you
  4. Even though I never got to meet Eric face to face I considered him not only a incredible wealth of knowledge for all things sound but a friend. I was lucky enough to have been able to chat with Eric every weekend for the last several years. I would recomend people watch the podcast posted here from Joseph Boyle and inspired by Rachel Cameron about Eric. He will be missed. "And you do What"?
  5. Here is what Fremantle is planning in Australia to come out of the covid pandemic. I was on a Fremantle show when we were ordered to shut down. I'm not sure what they mean by dividing the studio space into quadrants. Does that mean different stages? No way you can shoot with three crews on one stage and get it locked up. We used 4 large stages on our show. So does that mean one crew per stage? I don't think many shows could triple the crew size. Also no mention of how to handle the use of puting wires on actors. https://deadline.com/2020/04/neighbours-resumes-production-australia-coronavirus-guidelines-safety-plan-1202913780/maz/
  6. I would love to have a mid week chat along with our regular weekend one. Nothing but time these days.
  7. John. You never cease to amaze me with your wealth of knowledge.
  8. I just finished 76 days with the Venice and never had a problem with the TC. I used the Denecke JB1 and camera left it plugged in at all times. We even left it on the steadicam. My only beef with the Venice is that it never really gets quiet. The fan will shut down when you roll but never off completely.
  9. Looks like a beautiful day for tumbleweeds this Tuesday in Rio Rancho. I can't wait.
  10. Robert, I use a late model 2011 Mac Book Pro for on set play back and when I go to, System Preferences /Sound. At the top of the pop up window under "Input" it gives me the option to switch the 1/8th jack from a output to a input using the tab "use audio port for". I can then use a line level input. Is that option gone on newer models? If so that's drag.
  11. I am having a running battle with the 1st AC and how noisy the Preston motor is. He says it is within spec and I say I'm not sure what spec is but I'm telling you it's noisy when we swing any where near the camera. It's not a case of it belongs to him and it is part of his kit rental because it comes from the rental house. We have changed the A camera motor with the B cam one and there is a marginal difference. I will contact the rental house on Monday and have this discussion with them. I guess I'm really just venting and wondering if anybody else has had this problem and what your solution was. Bill
  12. I couldn't agree more with you Jon. Gordon sorry if this thread has gone in a different direction but since you asked what features we would like. As others have mentioned a SM tyle TX the size of maybe a SMQV with 48V that has variable out put voltage 50,100, 250MW to act as a stand alone radio boom would be amazing! The only reasn I say the size of a SMQV is to take advantage of the dual AA more run time VS a single MP50. Keep the single screw in SMA and the the 5 pin Lemo. I currently use the Ambient UMP II with a SMQV and I know my boom ops would love to cut down on the size and weight. I know beggers can't be choosers but if it was the size of a SSM (like some other manufacturers) I'm sure you couldn't keep them in stock.
  13. I agree with Jon. I too love my SM's and the ability to change the output W on the TX's. In the studio I always run at 50mw to conserve battery life and keep them cool, but on those crazy location days it is nice to have the ability to kick thiings up if needed. I run SMV's, SSM's for talent and SMQV's for my radio booms and car plants. These days I'm lucky to get a SSM on some of the wardrobe and actors have become very tech savy to the fact that smaller TX's are available. You can't make all the people happy all the time I know but if you could implement some of the new technology into the SM "style" for future release that would be great! +1 The ability to replace the VR Field and pull a half rack out of the cart and go quickly into a bag with the front mount BNC's is an amazing feature and maybe the DBU's only get used as RB's?
  14. that did it Jack. I unplugged the battery then reconnected and all is well now.In the heat of the moment I never thought to look under the male velcro camera had put on the back. Thanks!
  15. HI Jack, Yes it's plugged into power now. I can not access the menu screen or turn it off.
  16. So we came back from lunch and I went to jam the JB1 and pushed the button to get to the menu screen. Now it is frozen and no matter how long I hold the button It won't turn off. Any suggestions? Thanks
  17. I am starting a production next week for the first time using the Venice. I have no intention of feeding audio to it but I find some of the comments from Robert interesting. This is something we will test for this week during our camera sync sound test. Has anybody tested for this since Roberts original post? Any off speed shots will be done with a third body, the Alexa Mini. We are going to leave a Denecke JB-1 mounted to each of the two Venice cameras. Anything we forgot? Bill 
  18. I wasn't sure if DPA did the serial numbering in sequencial order or not. With yours starting at 226 are you experiencing any cap issues? As mentioned they are covered under warranty.
  19. I have been informed by DPA that they are aware of the problem and have dealt with the production issue. All defective mics will be covered under warranty and replaced with newer ones. Contact your local dealer or DPA dirrectly for warranty details.
  20. Interesting because all mine start with H128. Would that not indicate that mine are from a later batch? So does that mean it is a batch problem?
  21. Well that is good to hear. Yes DPA is aware of the issue and they are replacing the defective ones with newer versions. If you dont mind could you post or PM me with the serial numbers of yours. Thanks Bill
  22. Is anyone finding that the caps on the 6060's come off a little to easily. I don't notice it as much on the beige ones but particularly on the black ones. I'm not sure if it is something to do with the exact tolerances on the cap machining and the thickness of the paint on the black ones or if it is just a batch problem. If it is a batch problem then the serial # would be an easy way of tracking. At these prices maybe an extra set of caps can be sent to the current owners until a recall can be performed. Bo Brink maybe you could way in on this. Bill
  23. Mungo, That was a Micron 501. It ran on a 9V and was made out of machined aluminium. They were big (as shown in the picture) and heavy but they were also bullet proof. Made sense that they were used beccause most of the interior studio work was done in the UK. Made by Audio Engineering in London. Mine were UHF 179.21 and the antenna including connector was 16.5" long. You can see jack pull the mass of cable out of his pants. Bill
  24. I've been coming here since May of 2006 and yes there is a lot of information on the net but JW has to be the "go to" for any information regarding sound. I can not tell you how many times I have recomended this site to fellow sound recordist or any one interested in staring out. Thank you Jeff for making this possible for so many of us and thank you for all you continue to do in your retirement off site for the sound comunity.
  25. Here is a post I made in another thread. Today we have given the CS-M1 a really good run. I did a scene where we swung the on camera with the Sanken and then the off camera with the MKH 50. The CS-M1 has much more gain to it and deffinetly opens up the room more. Not in a bad way but it does have more top end to it than the 50. For sure it has more reach than a 50. In cases where I may have been tempted to reach for the wire to add a little fill on the actor starting deep and coming to camera I can let the Sanken reach for it. A very well respected mixer I know often refers to the fact that "perspective is now almost a thing of the past, well with the CS-M1 I'm now more tempted to play it. We then did the on camera again with the Sanken and the off camera with a CMIT 5U deffinetly a better match. So maybe The Sanken is more like a Schoeps. The biggest down fall is the indoor foam sock that comes with the Sanken. It is useless for any kind of quick swing or even a light swing across a room. You definietly want to beef that up. I'm using it with the Rycote INV-Lite 19. Maybe not the best mount for it but it's all my local dealer had at the time to fit it. It may be contributing to the wind noise due to the two metal rods. I know you can get a rubber dam to slide over the rods but black gaffer tape is a lot cheaper and does the same thing. I was very impressed with it out side as well. I used it in a WS 2 and found it to have a very natural sound. As many people have said before there is no "one" mic for all occasions the new Sanken CS-M1 is a great little mic and just one more tool in the drawer. You have to make the choice as to which mic works best for the scene and that particular actor.
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