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Everything posted by JonO

  1. They don't place the lav's in the helmets. Players take their helmets off when they go to the sidelines. I placed the lav head between the hard shell and soft padding. This worked for the type of pads that the team used. There are other, newer types of pads that have the shell and padding fixed as one piece and those are much harder to find a place to safely hide the mic.
  2. I mic'd football players for a doc and found that sanken cos-11's in RM11's worked fantastic. I only lost one mic during the season. The Sankens are much more durable than the b6's and I found that the unpadded b6's couldn't handle the spl's anyway. That being said, this was for high school football and pro athletes hit each other much harder. But I would try the Sankens in a COS11 for extra protection. Jon
  3. I mic'd football players for a doc and found that sanken cos-11's in RM11's worked fantastic. I only lost one mic during the season. The Sankens are much more durable than the b6's and I found that the unpadded b6's couldn't handle the spl's anyway. That being said, this was for high school football and pro athletes hit each other much harder. But I would try the Sankens in a COS11 for extra protection. Jon
  4. JonO


    I ended up going to Burbank Auto Doctor. I usually use Audio Department for cart modifications and they've been awesome, but I needed the project turned around on a weekend. Instead of welding it, the Jason at Burbank Auto Doctor recomended reinforcing both handles with a custom cut steal joint because he felt that the break would reappear. They did a nice job and I am happy and everything is functioning well. I'm going to add some wheels on the handles to help ease the strain when I load into the back when I can find the right set. Before I was using a sound blanked that slid on the plastic flooring of my Element, and that worked for around 3 years. I had always meant to add wheels, I just never got around to it because the sound blanket worked so well. Here are some photos of the cart..a work in progress, like all of them. I do not understand why photos are sideways...
  5. JonO


    yeah, the only problem is that I put the cart on it's back in my Honda Element, so it has to be able to take the weight, which it does usually. Then I was in a hurrying to load out at the end of a long day and when the cart had trouble sliding in, I muscled it..and it broke. Serves me right. Mirror, I'm in Los Angeles. I have some good suggestions from a bunch of people on the 695 Facebook page.
  6. JonO


    Sorry about the photo being sideways, I'm not sure how to edit that
  7. JonO


    Does anyone on this board want to do what I hope is a quick weld, or know of a good welder to recommend? I have a crack in my sound cart that I need fixed before I start a project next Thursday. I'm not sure how much it would cost, so if your interested give me a quote. Thanks. -Jon Orr jorraudio@gmail.com
  8. Larry, So in general, is the new digital system getting significantly better range than the digital hybrids despite having a lower output power? It would seem this test suggests that. -Jon
  9. That letter is purposely ambiguous and leaves 695 members completely in the dark as to what actually happened and why exactly our leadership is getting sacked. I would think that IATSE owes us more of an explanation than that half assed letter.
  10. I really don't think handling noise is a "real" issue on any of the mics that are professionally used in dialogue for film or TV. If someone is reporting a problem, it's with the technique or mount rather than a mic problem.
  11. Here are some photos of the housing, the rashguard with lav mounted...and a Bintang just because
  12. DeNoize, The gig was a ton of fun. We drank loads of Bintangs, swam in the Indian Ocean, and shot some world-class surfing. From a gear stand point. I ended up using a combination of shotgun mics, 416, MKH-50, and 8070 with the digital module. Recording the waves with the 8070 and digital module was moderately effective and Tom was correct in that the white noise of the water tends drown out the more subtle noises of the waves. I am from San Diego originally (now in Los Angeles) and have surfed for years and there is a definite sound that the bigger waves make when you are in the lineup and the wind is offshore sending spray off the back of the wave and the droplets hit the water. It's a cool sound. In order to try and capture it, I had a small boat motoring me around getting me as close as possible to the breaking waves. The biggest difficulty was that we had to cut the motor so I could record the sound, then turn the motor back on to get out of the way of the oncoming wave. This obviously made it hard to capture the audio cleanly. Rating the sound that I got from this technique on a scale of 1 to 10, 10 being how I know it sounds to surf in real life, I achieved a 6 in capturing it. In hindsight I probably would ditch the 8070 for the Sanken CS3e. At the time I was not familiar with that mic, but after using it for the first time earlier this year I think it would have been a more useful mic all around. Occasionally I would have the 8070 on the boom pole getting ready to get into a smaller boat to go record waves and suddenly we had to record athletes getting ready to surf and an 8070 does not fit well on a surf boat with 8 foot high ceilings. The CS3e could have just lived on my boom pole 90 percent of the time. I used an H2-Pro 7.1 surround sound mic for all ambient, nat sounds. It was unwieldy to operate and awkward to lug around but after listening back to the audio, I’m glad I did it. The sense of space from the surround sound shows up even when listening to it in stereo. I felt that it really immerses the viewer in the location. I recorded soundscapes of Padang, a Mosque prayer service, and even a makeshift musical session with it. I’d purchase one if I had 5 grand laying around and I wasn’t sure what to do with it. I also mic’d the surfers with Zaxcom TRX900’s and Countryman EMW stereo mics. The Zaxcoms were put in custom machined water housing that I hid in the rash guards of the surfers. This setup up was actually part of the production company’s equipment. Unfortunately as tends to happen when a non sound guy puts equipment together, there were issues. One of the water housing’s leaked and destroyed a TRX900, and it turns out the housing was not tested before the shoot. Also, the EMW microphones did not hold up to either the extremely salty water of that part of the Indian Ocean or the thrashing that they received being on a pro surfer in 10ft waves for hours at a time. I always rinsed them after a session, but about half of them did not make it back alive. The surf film itself was for Billabong and was supposed to go to 4 more locations, but the other locations never happened. Billabong collapsed in 2012. I just recently ran into the DP on a commercial last week and he said that they used the footage for several ad campaigns. I haven’t seen them yet. -Jon Orr
  13. My thoughts are to get something that you can record with as it seems that most "beginner shoots" tend to be DSLR shoots now days and you will need to record audio separately. Also, it helps if you are practicing to be able to play back your audio into speakers to hear how your mix actually sounds. My 2C -Jon
  14. Sometimes I use a strap around the chest, puting the mic between the strap and shirt. Sometimes I use an overcover with hair facing inwards toward the chest hair. Sometimes I make them shave and sometimes I say f'it and just boom. -Jon
  15. Depends......I remember seeing Schoeps CMC-641's used as courtroom mic's on stands in "The Wire" no one was the wiser except a few sound peoples I'm sure. -Jon
  16. I have no knowledge of this incident, I'm just speculating- but it's possible that the accident could have been caused by "icing" which is a very dangerous condition for helicopters. It can and has caused crashes. Also, helos are very dangerous and crash fairly often, especially when doing riskier manuevers. They are actually harder to fly than modern fixed wing fighter jets that have heavily computerized flight controls. They might have just caught a weird down draft or up draft and couldn't recover for a variety of unknown reasons. I was an aerial observer in CH46 Sea Knights when I was in the Marines. -Jon
  17. Same happened with my RA cup as well- now it has gaff tape. That being said, it works perfectly fine. I've been very happy with my Sound Sound Solutions Np1 cup from Audio Department. Good price as well. -Jon
  18. JonO

    PSC Solice Mixer

    That was one of my gripes, but the biggest problem with it that I found was that it was too easy to arm/ disarm tracks with the track selection buttons. More than once I accidentally brushed one with my arm and didn't realize a track was accidentally armed or disarmed. Fortunately it never messed up a take because it would be track 7 or 8- and they were unused (so I'd just record a phantom track), but it made me nervous enough to sell it. The button needs to have a second or two hold function in order to turn a track on or off IMHO. -Jon
  19. Use the mix assist function. Assign the judges mics to channel one and the other 2 mics to channel two. Mix assist works- not perfectly, but better than you could do trying to guess when they are going to talk. Post can clean up the mix assist's mistakes with the ISO's. -Jon
  20. It very well might be just a bad cable. When I purchased my CL- Wifi, the cable was faulty. LSC gave me a replacement and told me that it was a common for them to be dead on arrival. -Jon
  21. This is a 664 thread, but the heading says ask Sound Devices, so here goes. Would it be possible to implement a mute/unmute function on one of the 788 (and/or 664's) outputs linked to the record/stop buttons? So when recording, the output transmits, but is muted when the the stop button is pushed? I don't know if it is technically possible, but it would be huge for me and many mixers that I know. Currently I turn my Comtek transmitter off between takes to protect the privacy of the director giving notes to the actors, but obviously having to remember to turn it on again, then off again adds an extra step to my workflow and of course I've forgotten before which really upsets everyone listening to the Comtek feed. Thank you Sound Devices for constantly improving the 788 through firmware updates and I love my 788 especially with the CL-wifi (which has changed my workflow for the better and improved my life on set by simplifying production notes for me). Not having to worry about one more thing between takes and before makes it that much easier for me to concentrate on other things, like the mix. Thanks! Jon
  22. Here is my experience with different blocks in the LA area (obviously like Senator said, LA is huge and it depends on your location, but unlike Senator, I am going to try and be helpful) 19: very clean, I've never run into problems finding plenty of clean frequencies 20: I found this block almost unusable in the downtown area near the warehouse district 21: I have always been able to use this block although it used to be better a few years ago. It seems to be more and more crowded...maybe it's just me ( also can be an issue downtown- but still very usable 22: I would avoid this purchasing or renting this block. Usually it's about 3/4 unusable, although there seems to be a pretty constant 1/4 that is clean. 23-no idea 24- no idea ( I have heard that it is good...) 25: I like this block and I have found it consistently clean- much like 19 26: I generally very good, but I have also had some issue with it downtown 27: no idea 28: nearly always completely clean, too bad it's illegal In summary I think that just about all of the blocks can be used just about anywhere. But some seem to be more consistently clean than others. In my experience these are 19, 25, 26, 28. Others experiences may vary. -Jon
  23. JonO

    788t Limiters

    It doesn't disable them, but if I remember correctly, when you are in mix assist mode- you cannot turn them off or on because they are automatically on. -Jon
  24. JonO

    788t Limiters

    You probably accidentally enabled the mix assist mode. -Jon
  25. LA union boom commercial scale rate is 550/10. I haven't seen the boom rate on commercials negotiated "above scale". -Jon
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