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About SoundHound

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    Hero Member
  • Birthday 01/01/1

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  • Location
    Los Angeles
  • About
    Production mixer for 37 years now doing 28 track Live Swing Band Recording.
  • Interested in Sound for Picture

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  1. In the good old days when I started a show I would have a case of beer delivered to the grip truck and the lighting truck. Afterwards, I would endeavor to see what the Key Grip and Gaffer liked in a bottle. At the start of a show lots of social contracts are drawn based on 1st impressions. So best to redirect apprehension away from your department. Be inventive and social. You can always ask the D P/Director/etc about their previous films (that you have prescreened so as to know how to Brown Nose credibly). As for ADs just show them how you can save them some time and
  2. I just got my copy of CAS Quarterly wherein there is a review of the RX6. Lots more dandy stuff to clean up dialogue. Were I mixing today I wouldn't know what would be Production Sound Quality. I would want a real education on the RX6, etc. so I could estimate to my 1st AD/Producer/Director what the likely Post Production time and costs would be verses my estimate of set time and resources. However, the real ear opener was the more than inkling that iZotope is planning to "synthesize unrecoverable dialogue," sometime soon, in the future. So, for many productions, after the release
  3. I recommend the modified (*) Oktava MK 012 mic with hypercardiod capsule. Oktava makes a 90 degree swivel ($115) for those that like it. They also make an in-line low cut but this, unseemingly, adds to the noise so it's only useful in a louder environment. The Oktava typically comes with an in-line -10 dB pad but, after modification, I find this is unnecessary. The advantages are: No sensitivity to RF, humidity or gunshots. Small size, high performance and, even after modification, low cost. This combo is very different from the Chinese copies of yesteryear. Oktava als
  4. I found that the KM150/185 had a smoother polar pattern (shows on published literature) than the MK41 Schoeps. This meant a bit better "reach" and smoother off axis response. Also the KM (KMR) series was immune to humidity (I once put a KMR 82 shotgun into a steam room and took it out only after drops were forming on the tube-no noise! Also in 20 degrees below zero weather I took the KMs inside and listen as they warmed up with no hiss or noise. All early KMs and KMRs are very sensitive to RF like that generated by the old TV band camera xmitters. Later Neuman made a modification on t
  5. Cutting your whip aerial alters its resonate frequency and makes it less efficient (were it already the right length for your frequency block). Diversity, at UHF frequencies, works just fine with closely spaced aerials of equal length. So your modificalion will increase your dropouts and decrease your range to some extent. To increase your range, and save your reciever connectors, you could attach high quality low loss wire (semi permanet at the receiver end) to get the whips up or over head height. But if you are wearing your gear and walking then you would look strange in a hat/helmet wi
  6. 1. The Sennheiser MKH 70 and the Neumann KMR 82 (not the Sennheiser 804/805/815/816/415/416) have an essentially figure of 8 (bi-directional) pattern at low frequencies. So when outdoors if you point them straight up or down you can tune out typical exterior noise which comes along ground level (this technique is useless for airplanes and such). The trick then is to get the desired sound (typically dialogue) into the pattern. As a rough rule of thumb a top line will yield a better signal to noise ratio than if the actor is wearing a Lavaliere and facing the noise. A "lowfer" (slang for bo
  7. Proud that David Waelder chose the Sally Field/Norma Rae "Union" shot for the cover. So just remember to have cash in your pocket and playing cards in your kit-always. That way you can play polker with an Icon and have a story for the Quarterly too.
  8. I use an older 17" MacBook Pro and record 22+ tracks a 24/96 for a swing band. My session would often crash so I upgraded everything RAM internal SSD and finally used a Thunderbolt ported conventional hard drive as my externa data drive. Thunderbolt solved the problem!
  9. The iPhone/iPad, even the newer models, are notorious for severe roll off in the mic preamp circuits. I have "Pocket RTA" APP which has several functions besides RTA. But it is, essentially, uncalibrated. You could use the transfer standard method (compare various readings to a calibrated pro unit). But it can be useful (if only to Mind Fxxk the producer-an essential part of the job). Just don't trust the low frequencies from 200 Hz and below. If you are going to get more APP-elaborate be sure any aftermarket hardware/software bypasses the native, rolled off, iPad/iPhone input. If you are A
  10. I have used Neumann mics for about 45 years. The KM184 will be fine for the close and medium interior shots but you will want the "reach" of the KM185 for longer shots. I seldom used the KM184/5 outdoors preferring the KMR81/82 (and seldom used the KM81/82 inside preferring the KM150/185). The KM184/5 has lots of low frequency rumble so you will need a good shocknount and low cut on your preamp. I use two Shure "donuts" one inside the other to have dual axis protection (you wrap one donut with tape to fit snugly inside the other). It makes a compact and effective set up with room for a WS1
  11. I used the KK150 since it was first first issued and later the, acoustically identical, and substatially cheaper KM185 for decades. It is more durable than the Mk41 and I like the lively sound better. It is useful to have an on board low cut filter for the KK50 capsule There's a few NOS of the rare K100 electronic packages with a low cut switch (which eliminates the previously described pin 2 AC ground problem too) available. But realize that many of the Neumans still available today have a sensitivity to RF. I had described this problem (especially pernicious with camera mounted VHF TV v
  12. Do you look at the manufacture's polar patterns as well as their frequency response charts when you are comparing mics? A polar pattern is a graphical representation of the microphone's sensitivity by axis. Complete polar patterns will have overlapping graphs of many frequencies because mics will have different polar patterns varying with frequency. At a glance you can see how a mic will sound when your actor talks into the side when the boom operator misses his cue or, when by design, he "sides" the mic to a, louder overlapping, actor to balance the level of a softer speaking actor he has
  13. Wow! How the mighty have fallen since I retired 9 years ago (just slipped form the "Roster" a few months ago by choice). Regardless of wages the Production Sound Mixer is the head of a (very small) department and "The Keeper of the Flame" for an entire medium-Sound. For the 37 years I worked the "Mixer" was, typically, the second highest paid crew behind the DP. Inconceivable that the Mixer is paid at or below any AC in this century. In 1990 I grossed over $250,000 (my best year-don't imagine that's $500K in 2012 $$$ though) with a 6 months series (and other work but not 52 weeks) includin
  14. Round Up the Usual Suspects... Sorry to have missed you!
  15. Years ago I standardized on a Rycote shock mount with the "C" brackets and replaced their elastics with lots and lots of store bought rubber bands. I countinued to slather on these small rubber bands until my boom man could move at a dead run with two of them. This resulted in a much firmer mount that usuall but the mic tip did not hit the inside of the blimp with fast cueing and yet was limber enough to keep vibration down. This, of course, works best when you dedicate the mic to a blimp-and external shots. I though the band would deteriorate quickly but they were more durable than the hi
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