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About JonG

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    Hero Member
  • Birthday 02/23/1982

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  • Location
    Sacramento, Ca
  • About
    Sound Mixer. Features, Docs, Commercials, Corporate, Reality, whatever.
  • Interested in Sound for Picture

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  1. I don’t know if I’m the only one to have thought of this, but I use a strain-relieved shorty XLR hanging out of my bag (and MM1s for my boom ops) that my boom’s coily cable can quickly connect and disconnect from. Cheap, simple, nearly bulletproof option. (I keep a separate coily cable attached to all of my booms, strain-relieved, again for quick connect purposes). I have an HMa that I really don’t like so much, I don’t think it sounds nearly as good as hard wire or (again in the case of my boom ops, with an MM1 and transmitter). I got it as a means of convenience after Covid hit, so
  2. Very nice! I always wished that SD would have done this themselves. The fewer wireless items on set the better. Keeping connection has been such a pain that I haven’t used cl-WiFi in years! I wish I had one of these as I still use the 788 as well!
  3. Spend some time on Google before going out and buying equipment. Asking people here (or anywhere) what equipment to buy for something you don’t know anything about is going to give you a bunch of different opinions and potentially lead you down a path that you would have otherwise not gone had you been better informed.
  4. I once wore the Lectrosonics “Accept no Subs” shirt to a shoot where I heard that they might be serving Subway. The producers eyes got really big when I walked in the door! Did the trick, no Subway that day!
  5. Honestly, you should know when to turn down a job. If you don’t think you’re up for it, pass it along to someone who is. Buying gear is not going to get you prepared, it’s just going to get you familiar with that gear. But you still need to do tons of research, and you still need considerable experience in the sound dept before taking on a feature as a department head, even if it’s painfully low budget. This is a technical job, a lot more goes into it than knowing how to operate a device. There is this dangerous mentality these days where people think that buying gear makes them a so
  6. Don’t dump a bunch of money into gear. Get to know your local location sound people, and work your way up with them. Learn the business, don’t undercut your colleagues, and be grateful. Google is your friend. that said, this is a really small business with a lot of competition, it may be a very uphill battle, as there are already more sound folks than jobs these days. Stay open for other types of work, especially things you can do in your home studio in post.
  7. While on this subject, I think there’s a pretty big elephant in the room. Imagine the logistics of how to pull this off: You are flying a helicopter during the Vietnam war. You have a huge clunky reel to reel player, in your helicopter, and you’re blasting Wagner from miles away as you’re flying towards the enemy on the ground to scare them. Your reel to reel is just sitting on the floor of your chopper, not secured in, and somehow manages to stay put while you’re swooping around in the air. And you also happened to be equipped with the most powerful PA system in the wo
  8. I seem to recall the use of a Sennheiser plug transmitter as a prop on the Hannibal Lecter movie a number of years back. Cracked me up when I saw it.
  9. I’m trying to wrap my head around why someone would take such low end work that the price of a G4 is holding them back, and they’re considering no name toy brands. Honestly, the phrase “you don’t get what you don’t ask for” is everything when you consider this industry as a business. In your case, bill for sound separately and hire someone with proper equipment instead of doing multiple jobs for peanuts. You’ll never attract higher end clients if you don’t charge proper rates, and there’s no point in trying to do everything yourself when you can employ someone who specializes in sound for a li
  10. JonG

    Long shotgun advice

    An indoor court would basically be a nightmare no matter what mic you have at the end of your boom, unless like stated above, you have something like an mk41 that’s nice and close to the coach. outdoors might be a different story. as far as long shotguns go, I’m a big fan of them. I recommend getting one that matches the mics you already have. If you’re a Schoeps guy, maybe get the Neumann 82i. If you’re using an mkh60 already, maybe go with the mkh70. I have the 82i, the mkh70, and the mkh815T, and love them all.
  11. Like @Johnny Karlssonsaid, you would probably never want to add it to the ISOs, but applying it to the mix would make sense in some situations. As a post engineer, if someone handed me iso tracks that have been altered in any way, I’d be pretty upset, and probably tell production that they’d been tampered with.
  12. I’ve seen plenty of used 788Ts with CL-8s for under $2k. Remember that this is a $7k combo new. It’s definitely going to be a better machine than a sub $1k mixer.
  13. @Dan Brockettif you go to the “General” thread in this forum, there is a whole discussion about getting an FCC license pinned at the top.
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