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About JonG

  • Rank
    Hero Member
  • Birthday 02/23/1982

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

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  1. JonG

    PSA MKH 416 on eBay

    I don’t know how to solve economic problems in countries that want to make film productions but don’t want to pay for it. It seems to me that you guys should be charging more. But what do I know? I don’t live in your country or understand it’s economy. What I do know is that if your sound mixers are doing what the rest of us are, which is charging for our labor, and charging for the equipment that we supply, I feel like standard rates based on the cost of equipment should be upheld, since that is how we price our kit fees. For me, the jobs that I do can’t justify the expense of a Cantar X3 and 16 sets of Lectros. But I do quite well with my 633 and limited number of wireless. My clients have no problem paying the going rate in my market. This is applicable for productions with budgets. If you are mainly referring to indie productions, then no one here can help you because the people that make the rules on those are people trying to get more than they can afford, and if you are supplying them with everything they want but are not able to pay for, then it sounds like a problem on your end. Maybe these indie producers need to evaluate their budgets based on rentals. They may save a lot on their camera rental in the off season, but that does not apply to sound. Maybe you need to educate them by negotiating better. But again, this is me speculating without knowin any of the facts. Either way, cheaper more affordable equipment is not the answer because all that will do is allow more people who probably shouldn’t be getting into this industry to do so, which will only devalue all of our work, and make rates go down. If a hobbyist wants to buy buy a cheap mic, let them. But if you want to consider yourself as a professional, and do professional work, you need professional equipment, and that costs money. Most of of us here probably got our first 416 used, and there are deals to be had there. I always recommend buying quality products that will last rather than cheap products that you will eventually replace.
  2. JonG

    Boom Pole Quick Release Systems?

    I’ve been using the SGS ones since they’ve been available. I’m very happy with them, and have them on all my poles. I used to use the Ambient ones but found that they would sometimes lock up for no reason.
  3. JonG

    PSA MKH 416 on eBay

    You can buy cheap and get inferior products, which seems to be what the e-reviewers and DIY guys are all about. But for professional work, just get the real thing. You will be happy you did, and $800-$1000 for a genuine 416 that’ll last you your entire career is money well spent.
  4. JonG

    PSA MKH 416 on eBay

    Fake 416s have been coming out of China for years. All I can say is that if you’re gullible enough to buy one, you deserve it. I was always taught to research anything and everything so that I wasn’t asking stupid questions or making grave purchasing mistakes.
  5. I use the PSC Zeus. Nothing better on the market.
  6. Still want a Sound Devices 71616 or 72424. Still no hope of ever seeing one.
  7. JonG

    Lavaliers and Cell Phone Interference ???

    I used to hear interference on wireless, mics, and speakers, from cell phones 10+ years ago when presumably they operated on a different frequency? But I did encounter some odd sounds from a transmitter when I was to discover that it was in the same pocket as the talents phone. I guess people naturally stick the transmitter in a different pocket from their phone because I’d never heard anything like that before. But that was the only time in many years that I’ve experienced cell interference.
  8. JonG

    R.A.M.P.S./JWSOUND Party - NAB 2019

    Hey @Eric Toline, maybe they can work out a video link for you like they’ve done before! I remember they did that the first time I went, it was fun having there virtually!
  9. JonG

    Red, again

    They’re going to have to find out for themselves that Reds are not the right camera for this job. When your subject is in the middle of their heartfelt story and the fan starts blowing like a leaf blower and kills the mood as well as the take, they’ll make sure to replace the camera by day two. Just make sure that you politely warn them of your experience with these cameras and put it in your sound report when it happens.
  10. JonG

    2018 New Lav mounting tools

    So many Lav mounts out there these days. I saw a new one that has a little metal wire guard. I literally shoved a bent paper clip into an RM11 that came with my mic and it worked fine. No money spent lol.
  11. JonG

    Camera Hops

    @chrismedr as a rental rule, most sound mixers charge what rental houses charge. The rental brochure on the LSC site is essentially a guideline for a good majority of us. When I am negotiating with production, I quote my base rate and rental, and refer to anything outside of a basic kit on an à la carte basis using their rental brochure as reference. I recommend everyone do the same as a baseline price (feel free to charge more!), that way we will all be quoting the same and no production will act surprised when they hear the numbers. At least in the US. Other countries may use rental prices from an established rental house as their own reference. Indie films are an obvious exception to the rule, but I’ve found that when issuing an itemized invoice, people rarely push back.
  12. JonG

    Camera Hops

    I can’t say it doesn’t freak me out a little how not on the same page some of you are regarding rentals. Nevertheless, this thread is about hops and TC needs, in an effort to shed some light on what people are using and what they are looking for in a more ideal system. So I urge you standers bye to chime in and share your thoughts and experience using the formula stated in posts prior to this recent detour. Thank you.
  13. JonG

    Camera Hops

    @Rifthead the G3/IEM setup certainly is clever. Regarding hard wired TC, I’d guess that most here would do a courtesy jam if client doesn’t want to pay for a lockit but I highly doubt anyone would be willing to lay down cable for a cheapskate client. I could be wrong. Opinions?
  14. Agreed and well said @JBond I’m a younger guy but I shot a couple movies recently with a Nagra, if those movies ever are released then I’ll be able to share some insight on here. As for now, my biggest contribution to the Nagra world seems to be the fact that a lot of people know that I have some, so I’ve been asked to talk about them on podcasts and documentaries, and bring them around whenever there’s is some kind of use for them. I still don’t have my dream machine, which I doubt even exists: a Nagra T that has been hotrodded by Dan Dugan. I would stop collecting if it meant that I could have one of those! As of now I have a Dugan 4.2 and STC, and boy there is really something special in those machines!