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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

    New to Nagra!!

    eBay is generally the best source if you don’t personally know people who used them in the field and still have them. Regarding maintenance, a III will be difficult to service, and those who still service Nagras generally won’t do anything older than a 4.2. However I only have one Nagra (a III) that needs servicing. My others all work flawlessly, and some have probably never been serviced. Things to consider when purchasing a Nagra: what do you want to plug into it? There are various mic pres around, so be sure you know what you’re looking for. Mic pres for dynamic, T Power, 48V phantom power, old Sennheiser mkh xx4 type power, and combinations are all possible to find installed in a Nagra. You should also consider reel size, accessories needed, and power requirements. Let’s not forget those cables!
  2. @DSatz I am enjoying your technical responses on all these mic threads. Thank you
  3. Many people use B6s. If you do a search on this site, you will find endless threads about Lav mics and people upgrading their G3 lavs. Pro tip: search on google and include “jwsound” in your search.
  4. JonG

    rode wireless GO

    Another 2.4gHz product. I just gave up on Zaxcom ERXs because of that very thing. Always too many other things to compete with in set. Even small interview sets seem to be overloaded in this area. I got tired of fighting it. Tired of editors complaining that the scratch track would cut in and out. Let the camera monkeys have that space, and let the no budget film makers fight between their WiFi and their audio signals. I’m done there.
  5. You are correct, the Schoeps MK4 capsule also needs a CMC pre amp body, but you certainly could find these in the used market considerably less expensive. Be aware that certain older bodies like the CMC4 are T powered. Regarding mic pre amps, I highly recommend the Sound Devices MM1. We used those in a voice over studio in Los Angeles because they were the same as location sound mixers used, have high gain, and a very transparent limiter (when engaged). I use two of them for my boom ops, and I’ll never sell or replace them! Our VO studio used 415s and I found that they sounded shrilly and had audible room reflexions despite acoustical treatment. Even when the production mic was the same. They also used Focusrite pre amps which accentuated all the bad parts of those mics. I started using small diaphragm cardioid condensers because I could get reasonably close sounding VOs or ADR, EQ them, and add reverb to match the original acoustics. I also added Sound Devices MM1s to the signal chain. Our boss was big on not having the obvious hallmarks of old time ADR so we perfected the process pretty well. I learned about Schoeps mics later and wish I had them for those days. They are just perfect and so little to do to make them fit in or stand out with any kind of track. I now own several Schoeps mics and covet them like my own children!
  6. I own a lot of different kinds of mics, and coming from a post production perspective (and having worked in a VO studio in a former life) I can say that using a shotgun for a VO is not my favorite thing. For ADR it makes sense, but for VO I really recommend using a mic that works best for your voice. Using a cardioid condenser will be your best bet, however a dynamic mic is not unheard of. I recently worked with a VO artist who had a little chirp in their S’s and T’s. A condenser highlights those things too much, but an SM58 would tame them pretty well. Regarding polar patterns, we know that shotguns don’t perform well in reverberant rooms, which is why we often reach for super cardioid mics such as mkh50 or mk41. The point being that the polar pattern is wider but with less “reach”. A cardioid will out perform a super cardioid in reducing reflections because it doesn’t have a back lobe. You would want to position the mic to where it is not capturing reflections, but I believe that a cardioid mic will give you the “cleanest” signal. My favorite mic would be a Schoeps mk4 for this purpose. I own a beautiful vintage u87, a beautiful vintage c414, and a number of other very high end mics commonly seen in studios, and the Schoeps mk4 does something that no other mic does. It puts a layer of silk over the voice and softens anything harsh that stands out, leaving you will a more neutral yet clean sound. Using Slate emulations would be a step in the wrong direction entirely. If you are only recording lines and handing them off to a re recording engineer, they are going to want raw untampered with tracks without any processing on them whatsoever. The other thing to consider is your signal chain. What interface are you using and what mic pre? I recommend going with something neutral with high dynamic range. Sound Devices makes MixPreD, and USBpre that can be used as an interface. This way you aren’t adding any colour to your sound. Many interfaces produce a shrilly tinnyness to their sound, while others try to use something like a vintage sounding pre amp which will add harmonic distortion, and not blend well with the production tracks that they are going to mix with. In the end I know that it will come down to what you can afford, but making clear conscious decisions before spending money will get you to your goal faster, and trying out different mics may be the best thing you can do, but I can pretty much guarantee you that an mk4 will be your best universal mic for different voices for VO and ADR.
  7. JonG


    What is being referred to here for those who don’t know is that the Chevrolet Nova did not do well in Spanish speaking countries because No Va means “doesn’t go”. However the Van did very well because it means “we go”
  8. JonG

    Control Surfaces

    That is amazing! If I end up getting a Scorpio at some point I will certainly look into this!
  9. JonG

    Control Surfaces

    With the MixPres and now the Scorpio allowing the use of control surfaces, I’m curious to see what direction people are going. I like the idea of a theoretical 16 channel fader bank with a scribble strip, buttons for mute, pfl, track arm, etc etc. I use a CM Labs MotorMix for Pro-Tools which has two major drawbacks (aside from them no longer being made), it’s AC powered (not too big a deal for me since I can use an inverter on my cart), and it uses its own language to talk to the DAW. I’d really like to link two of these up to use with a Scorpio but I’d need some way of converting its controller language to something that the Scorpio can talk to. It seems like this sort of thing exists as a program for the computer, I wonder if there were a way to make an io box that could translate. Anyone out there that’s handy in this sort of way?
  10. JonG


    Thats really great. I try to practice power management on my own, this feature will be very helpful.
  11. JonG


    @Paul Isaacs, out of curiosity, have you measured the power draw on this device with everything engaged and running on full steam? All 48V on, SL6, etc? Many of our Cart power solutions have limitations on power outputs, I’d like a rating to know which would be the best output to choose. On the PSC Zeus for example, there are 3A, 5A, and 8A outputs.
  12. Historically, I know many sound mixers would have a spare Nagra in the van as a backup. I know that many have some kind of second recorder as a spare today. Do they get to Bill for having the spare? No. But they get the call from their client because they are reliable and prepared. In cases where clients are looking for reliable and prepared people, this is important. However if the client is looking to save money, they may go with someone less expensive and run the risk of their lacking in those areas. Back to the OPs thread, what are some options that people are aware of that may be nice compact redundancy recorders? The PDR and ZFR are two good options, I like the compactness of these. What else is out there?
  13. Oh yeah, definitely over water!
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