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About JonG

  • Rank
    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 hope your transition is smooth. Please stay active in our community. All the best.
  2. If they have a published email then I think it’s ok to contact them. I’ve been contacted directly on a number of occasions and I wasn’t bothered by it. But if you have a reservation about it, then contact them using the messenger service of the site.
  3. @jawharp please follow this up. I’d be very interested whatever you come up with. I’ve been toying with the idea of using my old iPhone 4S for my cl-WiFi but with it being so small, I’d really love to be able to use something else on a larger tablet, preferably not wireless.
  4. @Trey LaCroix yes this is true. I suppose it’s not the SixPack’s fault lol. But you can output AES from Wisycom receivers and have it come through the SixPack. Maybe the (hopefully forthcoming) Lectrosonics SR”D” will output digitally, so we can take advantage of fewer AD-DA conversion points.
  5. I’m very happy that they came out with this. I’m hoping that it won’t get in the way of transmitters mounted with a dashboard, though now I’m upset that the PSC SixPack doesn’t output AES when using Lectros. But sadly, this feature should have been standard in all their mixers as it was in the 7 series. I do believe that there needs to be a way to remote this device as it will certainly get in the way of other devices in a bag, as mentioned before. Can we hear from someone at SD to know if this is possible?
  6. @Philip Perkins maybe we can persuade these folks to send us a demo unit and we can have a Bay Area Nagra party
  7. I’ve seen these QGB IIs available on eBay. I think that they are a third party device. I’ve thought about getting one because I’d like to record on 10” reels too, and it doesn’t look like I’ll ever own an original QGB unless I spend big $$$! If you have a source, I’d be interested
  8. For production mixing, where you are making a mono mix, or some ENG type of setup like boom on the right, Lav mix on the left, having more panning options than hard left and right isn’t that useful. I’d say that it has been implemented because as time goes on, more features are added by default. What I don’t understand is how some newer machines don’t come with all the same features as some of these older machines. The fact that the 788T has ambient time code, mic/line/aes on all channels, a hard drive, and various other options keeps this a relevant and competitive machine imho.
  9. I’ve got a bunch of Schoeps mics that I purchased used. Some I’ve had for a few years and some I’ve had for less time than that. Overall it’s up to how they were treated, but my rule of thumb is that I test them before buying. Schoeps makes incredibly high end mics so as long as they’ve been well looked after, you may struggle to hear the difference from one from the 70s vs. one made today.
  10. I’ll throw my site into the ring. Feedback welcome: http://SoundDept.org
  11. I agree with @The Immoral Mr Teas That everyone else should know about sound and how their departments can affect sound. I just wrapped a feature that probably won’t ever see the light of day because of decisions made by the DP. Sad because it was Oscar material. In the end, the post team will say that the sound was bad and blame me, but the camera was noisy, the follow focus was noisy, the lights were noisy, literally everything was noisy. I know post pretty well, but I don’t know how they can clean up that mess. Not possible to do ADR, actors were flown in from Africa and other places, and the budget was of course all used up by the camera team. Google “open letter from the sound department” for more clues into how everyone on a film has responsibilities regarding sound.
  12. Anything in an audio engineering 101 class: signal flow, gain structure, acoustics, basic electronics, soldering, different kinds of mics and polar patterns, and since this is for production sound: wireless basics.
  13. They’re both $100 mics. Get both of them.
  14. I keep one as a ready to go MS recording bag, but have it also ready for car rides or interview days. I also have a 302 to pair with it and yes, it sounds amazing. I’d never sell it.
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