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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. You know what, I think I remember now that I bought the connector at LSC and soldered it to a BDS cable (Dave was aware of the size being different and they kept them in stock), and you’re right it is slightly different. I didn’t use those monitors for very long, they were too fragile and cr*pped out on me within a year, then BM took several months to replace them under warranty, and I decided that they weren’t worth doing business with, and went with Marshalls, which have yet to fail, eight years later.
  2. I’m pretty sure it’s just a standard 2.1mm barrel plug, just like on a 411. I used to have these and powered it from my power distro.
  3. Yes this is more ideal. A requirement for graduating. The problem is that nearly everybody that chooses to work in “media” doesn’t bother to learn the business side of things, and literally go about re inventing the wheel instead of seeking out the right kind of guidance and education to become successful, which prolongs success in their own career, and hurts our overall industry. I go out of my way to coach inexperienced mixers and crew members so that they have a better understanding of how to run their business, because nearly all of them end up making the same mistakes.
  4. Following up on what I said earlier, I think a good mic to use for a doc would be a stereo shotgun. Sennheiser and Sanken both have decent mics for this sort of job.
  5. A lot of good advice here. I will add that I’ve worked with red cameras a lot and can say that in my own experience, I don’t think it’s the correct camera for the job in the first place. Yes people use them. But I don’t think they’re good for anything but music videos. They are noisy, they overheat, they have bad preamps, they have nothing inside, you have to “build” the camera and put all the guts on the outside in a tangled mess. What you need is a robust, quiet camera that won’t need to have everything that should come inside the camera hanging on the outside, and if you intend to get useable audio, the camera itself needs to not generate noise. This is your number one obstacle. After that, a camera mounted mic is inherently in the wrong place to get much useful audio other than POV audio, which can sometimes be useful in a doc scenario, but of course, as we all know, does not replace a professional sound mixer. But I honestly believe that if docs are your ambition, you should start with the right tools, and not try to make the wrong tool fit into your goals just because you already have it.
  6. One thing that so school seems to teach is how to navigate the world as a freelancer/business person. Everybody that wants to get into media makes the exact same mistakes, which is to make no effort into learning what going rates are, how to ask for them, and charge less than everybody else due to their lack of experience, even after working in the field for many years. Knowing how to do the job is important, but knowing how to run a business may be even more so, because it affects the industry for others as well.
  7. Similarly, I use two of these mounted together in a small Pelican case with a four-pin XLR output for my “on the go” bag cart. https://www.swit.cc/index.php?c=article&id=276 you can also just put them on a dual charger and use it’s XLR4 as an AC/charging/DC power source. https://www.swit.cc/index.php?c=article&id=492
  8. As long as you’re not also charging batteries with your mixer, hirose is fine.
  9. Yes I understand that it’s a simple procedure. Nevertheless, it was something that he offered to do while he was converting the power.
  10. Unfortunately he isn’t converting 416s either. I’m not sure what Pete did to convert them, but it sounds like it’s a lot more of a process than with Schoeps mics.
  11. I just got three of mine back from Bill and he has done some exceptional work. He was even able to undo the blue dot that one of them had, as well as make a minor repair another had on the interior. Highly recommended.
  12. I did a show where there were a good deal of non TC cameras rolling on and off quite often, so I had the ACs use the Denecke app so the caneras could catch the TC and I’d have them verbally call out the TC so that the cameras audio and my audio had some sort of reference point. It made piecing together what would have been a nightmare in post pretty straight forward.
  13. 8040s are great. Mixpres are adequate, though you could pick up a used 702 or 722 for less. You do need to consider all the other stuff tho, which includes power, and all the accessories. But your budget should allow for all that if you’re resourceful.
  14. Audio Department in Burbank make a dual Np cup that works rather well. I used it to power my cart when it was stripped to a more basic rig. there is also the BDS made by PSC with multiple power sources that one could use.
  15. Regarding question #2. I see a lot of people, usually using MixPre or Zoom recorders, trying everything in their power to not buy a Battery Distribution System (BDS) and use common broadcast batteries like eSmart or NP1 style batteries. Usually after configuring some such setup they eventually realize that whatever they’ve come up with is inadequate for their system, especially as they expand their bag, and have to go and buy a proper power setup anyways. I’d save myself the hassle of going through these steps and just get a purpose built BDS with broadcast batteries. PSC, Remote Audio, AudioRoot, Sound Guy Solutions, are all great companies that make excellent power solutions designed specifically for sound bags.
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