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About JonG

  • 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 had Bill Thompson convert three of my cmc4’s and they work great. I definitely recommend contacting him. He’s a really nice guy.
  2. Having either of these would have been the exception to the rule back then. All our house phones were cabled (one in the kitchen, one in our parents room), and it was fairly ritzy to have more than one phone in a house. We still had a rotary phone in the kitchen up until about 2002! Either way there shouldn’t be any reason why taking the guts out of either of these pones and replacing them with a lav and tv should be challenging. They’re designed to unscrew for repairs.
  3. If you use a case with a clip you could easily just clip it to the board. When I used ERXs, I’d keep them in the Orca cases designed for them, and they came with belt clips on the back. Setwear also makes something that fits them well and has a belt clip. I’ve seen plenty of Script Sups clip them to their boards and use them as IFB as well as TC readouts for note taking.
  4. I’ve used Transcend 16GB 133x CF cards since I purchased my 788T new over a decade ago. It was the recommended card at the time, and I’ve never had a card failure with them. Transcend 16GB CompactFlash Memory Card 133x (TS16GCF133) Size: 16 GB, Model: TS16GCF133, Gadget & Electronics Store https://a.co/d/688QiEE
  5. Pretty much the whole time. The title of your initial rant for one, then the nature at which you were ungrateful that the members here aren’t specifically here to serve you. You are being paid to know your equipment as a technician and expert in your field. If you do not agree with this statement, then bow out and retire. But since you take money for this service, you should have at the very least read the documentation that it came with. Because you didn’t do that, you were the “victim” of basically the very reason why one should read said manual. Instead of contacting the manufacturer for clarification, you came to a forum and slung mud about in a fury. Then became upset when people called you out. I will admit that I don’t have every frequency block completely memorized, but I do have a general idea of where they start and stop. With that general knowledge, I knew that there was an overlap in blocks 470 and 19. So when I purchased my first A1 product, I was curious about how Lectro handled that overlap, and learned about it right away. Anybody that does this basic level of research about their equipment would have likely followed a similar path. What you have shown all of us is that you do not. I feel sorry for anybody that hires someone this ill prepared.
  6. What is there to disable? You’re either on frequency x in block xa, or frequency x in block xb. It’s up to you to know about that and set things properly.
  7. I’ve done essentially the same with an older Lectrosonics multicoupler (that housed old non scanning receivers) and it worked just fine. Overloading the front end would likely only happen if you were amplifying your antennae too much.
  8. Also, you don’t want to overload your inputs or transmitters with subsonic frequencies that you can’t hear.
  9. I used to use the Ambient ones but sometimes they lock up, and it’s always go-time when they do. I switched to SGS and like them a lot. I have them on all seven of my poles.
  10. I wish this thread existed when I got into Wisys and 6060s. I asked around about 6060 vs 6061 and got crickets. So I went with 6060s. Most of what I do these days is corporate/commercial work, but I did do an extremely long feature earlier this year using this setup, with lot’s of yelling and screaming. The 6060s did just fine, I’d just turn the gain on the tx down when I knew it was going to get loud. Everything worked out great, I just hope that whomever gets stuck doing the post work can deal with the snow machines that you can hear in every scene!
  11. I know that I’m late to the game on this show, but I just started watching “Medici” on Netflix, and the dialogue is just plain terrible. I can’t understand half of it, and it is muddy and phasey, as well buried under other things in the mix, such as the M&E tracks. I’m sure that it was recorded well, I don’t detect much ADR, although with those outfits I’m sure there is plenty, but I haven’t NOT understood more dialogue in a show in I don’t know how long. I have excellent hearing, an above usual hi-fi setup, and I understand accents quite well, having lived abroad for many years and speaking more than a couple languages. What is with this mix? Yes there are whisper actors but all the dialogue is buried in one way or another. I don’t get how this passed QC! Back when I did restoration work and surround mixing we would have never let this through. Why do streaming companies that do original content cut such crucial corners? I know that camera has been put on a ridiculous pedestal lately, but really, sound is 51% of a show at the least. If we can’t understand what people are saying, what’s the point of the show? Come on people.
  12. I imagine that would be rather complicated since each brand of wireless mics has its own compatibility mode, not to mention encryption, digital vs. analog, etc.
  13. I believe it was block 27. And from what I remember, it was a wireless service provider van that picked it up while driving by and hunted it down.
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