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Not Chilli

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Everything posted by Not Chilli

  1. Just got it hooked up today and am pretty pumped to give it a proper test on a shoot I am doing in a few days. I will one day get the 688 but it feels awesome to finally be able to mix all 6 tracks without performing some kind of finger acrobatics!
  2. Yeah the eq definitely not currently available for the 633 and the 664. But I wonder if in the future it might be a thing or if the hardware is just not able?
  3. Howdy fellow sound peeps! I figured i will get the ball rolling with a topic about the 633 and the CL-12 and what we want and what we think! I am about to buy one and saw that it doesnt have an EQ which i assume is a hardware limitation but i am happy to be corrected! But otherwise it looks dam sweet! Will try and give feedback once i start using it and feel free to bump this to another form if its been talked about as i couldn't find anything as of yet. Cheers, Piotr
  4. Howdy Sorry for the slow reply! Rainier i might be interested in selling but they are still very awesome wireless and since we live close we should totally grab a beer! and Traut Audio Limited sound great and are really robust but the market for them are not very big here so it means slow repair times higher costs and fewer options [like every plug i get needs to be custom made and can take a few days but with lectros they are almost always in stock]. Plus i am not a fan of the lack of a on board scanner and using the little remote. but i still use them and they have a tonne of range especially considering the lack of a scanner! I would almost say that at 50mw they can beat lectros at about the same!
  5. Sorry to jump on this topic but i thought i might ask as its has newish comments, but i have a the UMP II connected to my Audio Limited 2040 and i am getting a lot of noise that i am not happy with. https://www.youtube.com/watch?v=kduQmsdLV_4&feature=youtu.be Here is a link with some of the sounds i am getting. This was recorded with a 744t and sanken cs3e. Is this odd sound normal with this device cause when listening to it in through my mixer its sounds unusable. Any thoughts would be awesome thanks in advance for any help!
  6. Mike: Absolutely! One of the reasons I love my job so very much! I am almost always been challenged with new locations and new ways to capture audio. I am almost always learning and when the learning starts to slow down i will hope to be teaching :-]
  7. Hey Peeps! I am very sorry for the late reply i think the notification system on this page might have broken on my end! But thank you for your replies! Mike and JonG: I understand generally speaking about sending a wireless link to camera and Gain structure [i have worked with lectros and G3s plenty of times] but i also know that every system can have there little kinks and tricks which can maximize the performance and quality and it would be awesome to achieve that without to much trial and error :-] olphi: Thanks for the info! thats definately putting me in the right direction if not to a pinpoint! Bash: I guess what i was wondering was what olphi has explained. I can listen out for my gain structure but having some settings to start me off is a big help. But Things i am concerned with the Audio Limited are the lack of scanners on the receivers I do know to check through my frequencies when i get to location but it might be a little tough if we are on quite a mobile shoot. So how do you think they perform if i was in a messy part of the frequency spectrum but stayed within 5 meters of the camera [would you wire a g3 return feed just in case or are they really reliable?] Jim: Thank you very much for your added knowledge! Patrick: Yeah i couldnt find anything on the Audio Limited website about how the line level operated but i might have not been looking hard enough so thank you for that info i might do some line testing as i didnt think it even did that. You have all been really helpful and i will do some more tests before i bring it out in the field! You guys are awesome thanks again for your time!
  8. Howdy People!, I have a set of Audio Limited 2040s which have been replaced buy my new Lectros [smqv and sbr] and i am considering using the 2040s as a wireless link to camera. Now i dont do very much wireless to camera so i dont have very much access to fiddle with a camera but i was wondering if anyone here uses the 2040s for that purpose and what tips and methods you peeps recomend. I have tried to find something on the site but i cant seem to find it but am more than happy to read off another link if someone knows where it is. Just so you know i am using a 744t 442 combo with now 2 lectros and 2 2040s. I have the appropriate cables and have tested them and they seem to be all good. Thanks in advance!
  9. Rainier! You make a very good point! My user name is also my name for my business but i at least need to sign off with my real name! Mike i am hoping that it all pays off in the end but you said it perfectly! Words to live by to get into this industry! Thanks guys for the input yet again! Cheers, Piotr Wasilewski!
  10. I had a dp ask me if my 744t does 60 frames... I gave him a funny look haha. But seriously people are going to start asking for 48 frames for their films, i have yet to see the hobbit but i like that the technology is being push whether its successful or not, i also like that a big film has taken a chance and a risk to see if it would work out. I am a bit of a traditionalist and i love film at film speed but i am happy to be proven wrong. Thats my 1,2 Cheers, Piotr Wasilewski!
  11. Thanks Justin! Being an assistant for a Big Mixer (and i dont me a large mixer haha) would be one of my dreams and i think i will try and throw some CVs their direction and see if i get some bites! Its interesting to think that they might be searching for female assistants as i know a lot more male soundies. (not to say that there shouldnt be female soundies) but that is a good heads up! It is a good call Mike and though my child brain likes to think that we are all equal and we both perform to the same strengths, my informed brain can see that there is a greater male population of soundies and whether thats because female soundies are just being let in or if its a profession that they stereotypical dont favor i am not to sure. But to play devils advocate i wonder why would a sound mixer would choose a female over a male Justin? (just to be clear i dont feel that a female wouldnt be up to the task but more that i am interested why they would choose a lady over a man and not just be uncaring of gender?) side note: thanks Collin for the tip! Its almost exactly what i am doing i guess i just hope that one day in my later years i will be working on big productions.
  12. Thanks guys for the input! I think when the time is right then I will jump on a mixer but I am just concerned that Australia will get to that level where there will be a great need for a sound cart or a boom operator. 99% of jobs I get won't let me get one and that's the same for a few other guys I know. Which is so sad as its so very important to have a good boomie!
  13. Hi everybody who has opened this link! I am a Sound Recordist and by that I mean I have a 442, 744t combo, cs3e, ntg3, 2x G3s and a bunch of other little bits. I have done 30+ short films as a recordist, a couple indi features as a recordist and a few as a boomie! I work in Australia and dream to be either a boom operator (full time) or a major sound mixer in my later years in that order :-) I get a lot of great sound on sets with my kit but I have been reading a lot of posts on this site and I hear a lot about these amazing carts that a lot of you guy and gals rock out and on top of a lot of jealousy :-) I have a big interest in what is needed to be done to get to that kind of level. I know that the Aussie industry isn't really catered for that kind of work but before I assume to much I was wondering what you all thought. So the big question is for an Aussie up and coming soundie what would you people recommend I ? Is there a real market here for it? Should I spend some time at the schools here? Or anything of that caliber? Or should I keep on this road keep working short films and some occasional features in hope that skill and luck find me and give me the opportunity to really shine? Would love to hear what you all think! Cheers, Piotr PS. Tried looking this up on the site and I didn't come up with anything might not have looked hard enough
  14. Do not get a rode if you are worried about how heavy it is! (Not to say that you were thinking of it) It does a great job at a cheap price but I am keen on a upgrade and I was thinking Rycote as the few that I have used have been really light!
  15. All i have to say is....... SOUND RULES! I love this job! Peace out!
  16. Side note, I haven't really used the 416 in that situation and it might be the go. My kit consists of ntg 3, ntg 2 and the Cs3e . I will say that avoid the ntg3 in that situation. Though it a nice sounding mic and great widish off axis which is great for scenes where talent talk over each other!
  17. I use the sanken cs3e and I would get nice and close in. I love using the boom as my main and I have gotten away with a lot with a tight boom, good projection, a great understanding of the scene and of course a really well covered atmos track. I have been in similar situations with limited gear and have come up with really use able audio.
  18. Yeah I have heard it can take a beating! Which is why its awesome as well as the deep studio like sound. I think what busted was the capacitor?
  19. Sounds like you take your mics through the hard yards! According to Rides tech guy there it was pretty bad case I had. I felt with a guy there called matt and he was really helpful and made sure it was resolved as quickly as possible so its thumbs up for service but I live here in Sydney so I just drive down to Rode and talk to him directly. I still definitely use it cause it has some great uses like car stuff and talent talking over each other but I always pack the NTG 2 and Sanken just in case!
  20. Hey ya Justin! Over the last 2 years I have 2 die on me mid shot which is why I don't deem it reliable. Rode were great about getting it fixed and replaced and have since had my mixer looked at and what not but think my luck with them has been pretty bad and I would say that it is my opinion. I do love it but I had it and an ntg 2 in my kit as a backup and I didn't feel confident to walk onto set with it as my main. Hence why I feel a bit disappointed with its reliability. I still pull it out if I want a wide off axis mic and in high humidity situations like swimming pools or when there is a scene which requires a high SPL rated but I wouldn't have it as my main anymore. What do you think?
  21. Yeah I might agree with it being the wrong market. As I wouldnt consider my kit to be not nearly at its peak but more starting up and I use sound devices 4 track recorder mixer , and I have a ntg3 as my backup, the main mic being sanken cs3e and a couple of g3s . But any odd bits that I need I rent from so soundies I know. Your market does sound like it would serve awesomely for a indie filmmakers market. I come to this site to get in site about pretty pro level gear. Also I am not to sure about you guys up there but in Aus its pretty frowned upon to directly undercut but I speak from my side and am not trying to stir things up. I also agree with the definition of pro. I used the ntg 3 and I loved the sound and would consider it pro sounding when used correctly but wouldn't consider its reliability of a pro standard hence my upgrade to the sanken but others might think that its only a semi pro mic. It is up you if it works with you to get the results that you are looking for and to make your client happy! The only times I would use a cheaper kit is if I feel I can get the professional result that is required of me. Anyway happy to hear what peeps think on the topic as I am pretty new to this but thought I might give my input!
  22. Hey ya! I am also an Aussie recordist but am young and always looking for people to talk to. I don't really get the work to have an assistant but am happy to chat about experiences I have had in Aus and maybe make a forum out of it!
  23. Hey! So many awesome responses! So Ryan the NTG 3 does have one longer pin for that reason which I read up on. And thanks heaps Mike for the info! I went into John Barry here in Sydney and showed my mixer and he was also saying he had never heard of a mixer blowing out a mic as. He did say that if the faders get damaged it can cause noise in the channel. I will be sending it in for repairs soon enough when a few of the invoices go through! I feel that I can safely say that it does seem to be the unlucky ntg 3. But when I final get this multi reader from eBay then I will let people know if there are any odd things I pick up! But dam that Sanken CS3e sounds good and natural and rejects background noise well! It is really good to have the ntg 3 though as it sounds like ADR when I get in tight! Thanks again everyone!
  24. Just donated! Thanks for an amazing website!
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