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About Ontariosound

  • Rank
    Hero Member
  • Birthday 01/01/1

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  • Location
    Ontario, Canada
  • About
    A mix of documentary, feature and series television. And music production.
  • Interested in Sound for Picture

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  1. I have done a few of these over the years. I use the Remote Audio cable for this. True, the gating system is distracting. The threshold is pilot controlled, but good luck trying to get an already distracted pilot to do a couple of test settings for you... Make sure that the camera(s) have camera mics attached and tell Post Production to use the camera mic sound to fill in the gaps of silence. Worked for me many times.
  2. Bar Rescue is a reality style show. No VFX besides blurring out non-sponsor booze bottles and beer taps. Everyone laved at all times, terrible lighting usually but a great way to kill an hour if you are bored these days. Screaming, crying, fighting, drunk people, bacteria etc etc. I have seen COS 11's and B6's in the button on the host's shirt every episode.
  3. The host of the Paramount show "Bar Rescue" has his lav mounted in a shirt button most scenes. Jon Taffer is a hot headed chap from what is seen on the show and I bet he got annoyed with adjustments or re-takes due to clothing noise on him so it was decided to have it semi-exposed. It is a very successful show and his mic is almost always visible to the trained eye. And it sounds great.
  4. Since Genlock can interfere with the scanning process of cameras I have for many years left Genlock decisions to the camera department.
  5. Anything with a decent budget shot in Canada from 1980-2002 was most likely Micron for RF mics. Cut my teeth with them, TRAM or COS11. Superb, warm and thick sound. I loved how the RF never fizzed in and out, was ON or OFF for me anyways. And battery life was not stressful.
  6. Have been running my 788T/CL8 many years, but just can't get excited about the Scorpio. Thinking about a Zaxcom rig for upgrade time.
  7. If I see an exposed lav I usually assume the Producer cheaped out and did not hire a Soundperson.
  8. Still only one AES/EBU input but the Dante is very welcome for the near future. This one is more appealing to me personally than the 833 or Scorpio.
  9. Long time Lectro owner. Multiple units in regular use. This device is not turning my crank. Seems late to the party and under spec'd.
  10. Like Scotch and cigars. Sennheiser MKH are ready when you are.
  11. Been using SD products since the boys left Shure and started the company. Have 788T and a pair of 552's as well as older SD mixers in my arsenal. IMHO the Scorpio is an upgraded 688 and the 833 kicked itself in the teeth by not having more AES ins or DANTE. They should have done a new 788 as the flagship recorder. The cluttered front panel and tiny screen of the Scorpio has me waiting for the next and proper evolution of the supreme 788.
  12. I have a 435. Great mic but I use it mostly for props. A real 60's and 70's vibe with a vintage Sennheiser mount. It is an XLR version. Rich and bright sound.
  13. Palmer PDI -03 is an industry standard and sounds superb. I have two, for stereo tracking or duelling leads.
  14. Adam, you asked many questions but did not share the repair info that took place at Sennheiser. A simple phone call to the Service Department there could give you the info about what was done to your mic and potentially help others on this board.
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