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soundmanjohn

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About soundmanjohn

  • Rank
    Hero Member
  • Birthday 10/02/1951

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  • Website URL
    http://www.johnleonard.co.uk

Profile Information

  • Location
    London, United Kingdom
  • About
    Theatre sound designer and sound effects recordist. Old now, but still working! based in London, UK, but peripatetic, so could be anywhere. Surround sound recording a speciality.

    SD788T, 744T, 702, MixPre-6
    Soundfield ST450
    DPA5100
    Assorted Schoeps, Sennhesier, Neumann & DPA microphones and Rycote windshields.

    Member of the AES, The Institute of Professional Sound, the Association of Sound Designers (UK) and The Theatrical Sound Designers & Composers Association (USA). Occasional writer of columns for Live Design on-line magazine, author of a couple of books on theatre sound design. Married to a wonderful 'cellist.
  • Interested in Sound for Picture
    Yes

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  1. soundmanjohn

    HHB Dat

    Actually, I mis-remembered a bit. ian Jones was the band's manager, rather than being in the group, but Half-Human Band it was. John
  2. soundmanjohn

    HHB Dat

    I bought my first DAT (also the D-10) from Tony Faulkner, who'd been trying it out for Sony. Discussing it with a colleague from BBC Radio who also had one, he told me that he'd had difficulties getting the people in the BBC archive to accept the tapes because they didn't take 'Dictaphone' cassettes. He got round the problem by fastening the cassette in an appropriately labelled 7" tape box and handing that over. Never a single complaint after that. Oh, and Jeff, maybe you'd have been a bit more wary if you'd have known how HHB got its name: the founding directors used to be in a band; its name? The Half-Human Band. All the best, John
  3. Audio weighting networks, telephone network improvements, moving coil disc cutting stylus, stereo recording, high definition (comparatively) television in the 1930s, 45 degree lateral stereo groove for disc reproduction, H2S airborne radar: these are just a few of the things that went through Alan Dower Blumlein's mind, before his untimely death in a plane crash in 1942, whilst working on the radar.
  4. In my time as a stand-in projectionist, before Xenon lamps became common, arcs were the only light source. I first met them as hand-adjusted versions in the follow-spots in the big theatre in my home town and then again in the projection room of the first arts centre I worked in as a jack of all trades. Those projectors used a system called auto-arc, where an opto switch supposedly checked that the gap was correct and fed the carbon in when it got too large. They never really worked properly, so one had to keep a constant lookout for the picture colour balance. Too blue or too yellow and the arc needed adjusting by hand. Mind you, the early Xenon lamps chucked Ozone out at an alarming rate and were a bit of a pain to change when they failed, with protective gloves and eye-protection needed.
  5. Sometime though, it can work to your advantage: I was working on a charity gig and the compere, a brilliant U.K comedian and writer by the name of Barry Cryer, left the theatre at the end of the show still wearing his transmitter. As soon as I realised he'd gone, I monitored his mic channel and was relieved to find that he was in the pub next door, ordering a pint of liquid refreshment. Actually, with his well-known reputation for liking a drink, I could probably have gone there directly, without checking his mic. John
  6. I have a pair of KM184D mics, the DMI-2 portable unit and a KK120 Fig.8 capsule. Simon also has a pair of the KM184Ds as we bought them from the same company, who'd bought a load from Sennheiser under the mistaken impression that they could connect them directly to a digital mixing desk, and consequently sold them off cheap. I bought two sets to do IRT cross surround recordings and found a couple of DMI-2s in stores where no-one knew what they were, so sold them to me for very little money. Following the IRT cross experiment, which was impressive, but impractical for outdoor work, I sold on one pair and the DMI and bought the KK120 so I could do fully digital M/S recording. For me, the most useful part of the system is the programming software which allows you to configure the microphone for different sample rates, (happy to reconfigure our Swiss friend's Sennheiser if he wants to send it over), LF roll-off, limiter, etc. The M/S set-up works very nicely and is pretty much noise free, so very happy with that. If I could afford it, I'd buy a couple of the KK133 capsules for purist music recording, but at their current price, I think I'll stick with my Schoeps. I did initially have a problem with the direct connection to my 788T with the breakout cable that came with it and, thanks to information here, was able to determine that the breakout cable I had was an early version and didn't provide the necessary power to the mics. Sound Devices sent over a new cable to me in the UK on a Friday, which arrived from the USA the following Monday - no charge. Superb service. All the best, John P.S. Neumann updated software and firmware for all ther digital microphone systems earlier this year.
  7. Well, there's a free chat program made by my friend Scott George at Autograph Sound here in the UK, which gets used for comms between a wireless rack and the FOH mix position. I don't think it can be pre-programmed, though. Might be worth a look anyway. Just noticed that is has a Macro facility: that might help. It's here: http://www.signatureseries.biz/products/asrchat.html John
  8. I suspect that many of you have come across Howard Kaufman in his role as New York's Lectrosonic tech expert and will have benefited from his expertise and generosity over the years: Howie is now desperately ill with a Stage 4 Glioblastoma and his family are fundraising via a GoFundMe page to help with his care. If you can spare a few bucks, please go here and donate. https://www.gofundme.com/f/howie039s-recovery?fbclid=IwAR31xyj2yFKYh4b7EUz5h4LZRfiVdA8PytZO257JqyUlHNbFIY_KFMOzy6c Thanks, John
  9. I was one of the people who crowdfunded this movie, so good to see it getting some international recognition.
  10. Sound Effects sale. www.asoundeffect.com has a sale on, and most of my libraries are in it, including the latest, Bells & Doors of a Victorian House. Find my collections here: https://www.asoundeffect.com/sounddesigner/immersive-fx/ Thanks, John
  11. Totally coincidental, I should think: Martin's a West Country chap here in the U.K. I agree it's pretty odd that the two names should be so similar, though. John
  12. Just a warning that there's some guy pretending to have one of these for sale in Germany for a good price, but he's a scammer. He suggests using an escrow service of Deutsche Post that doesn't exist and when challenged on it just disappears. For those of us with not so much money, a less costly dummy head that uses DPA4060s has just been announced by this chap: https://www.inariaudio.com It looks nicely made and is about a third the price of the KU100 John
  13. Did my first shoot with a Tentacle Sync E, a Canon EOS 7D Mk 1 and a Sound Devices 10T. All went well until the import of the video and audio files into Tentacle Sync Studio. The software checks that the timecode is correct and shows that the audio and video are in sync. Except that they're not: the video lags the audio track, on which the LTC is recorded by, according to some research that I did on the internet, "1-2 frames" and you can correct for that that in the Tentacle software. However, clips from later takes still looked to be out of sync and needed 4-5 frames of correction. As this was a quick and dirty session, there was no slate (I don't normally do this kind of thing and there was no money to rent one) so it was pretty much suck it and see, but all now seems to be OK after some trial and error. Is this sort of thing normal with DSLR cameras? John
  14. Aha, that'll be it, then. I'd totally forgotten there was a USB drive connected, as it's one of the tiny ones. Thanks for the problem solving. All the best. John
  15. Having updated to Firmware V3.01 on my 10T, I had the rather strange experience this morning of not being able to turn the thing off. I was doing test recordings of my OctoMic/Cyclone combination, powering an AudioRoot BDS and Remote Audio Hi-Q battery, with a fully charged set of Eneloop AAs in the battery sled as back-up, and when I'd finished recording, I went to power down and the switch was totally inactive. Disconnected the BDS, still nothing. I'd had WIngman running on my iPad and wondered if that was something to do with it, so turned Bluetooth off, and initially that didn't seem to make any difference. Eventually, after a fair bit of head scratching and switch clicking, the unit decided it did want to turn off after all. I can't replicate it at the moment, but will persevere. John
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