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Benjamin Gandy

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About Benjamin Gandy

  • Birthday January 1

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  • Location
    London, UK
  • About
    Production sound mixer / sound recordist. I mostly work on shorts with a few features, slowly working through bigger productions.

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  1. AFAIK the NTG3 is RF biased. Personal A-B, it's more directional and has more 3-4K, but is much more sensitive than a T-powered 416, no idea how they compare to P48s.
  2. It's sad that sound engineers are forced to design and implement such devices. Maybe we should make all our booms bright green until the camera department takes care of their own damn equipment.
  3. First wireless I swung with was an HM taped to the pistol grip. Heavy, but very effective. I recently borrowed someone's Audios and used a VDB 48V cable, again with them taped at the head end. I never needed to tap directly into the boom either time. I considered getting a Sennheiser plug on but need to upgrade and increase personal mic count before the boom and I just couldn't trust my main source to a Senn. If you ask me, having a boom wired onto your belt is more hassle than a wired boom. Mounting 48V and TX to the bottom end of the pole could be novel though. I've always found wireless much more necessary in one man situations, for obvious reasons.
  4. Get a red sharpie and scrawl ADR over the walls. Does ADR stand for After Dialogue with a Red? Seriously tho, mention it to director and producer (sometimes) and just explain that the camera is simply too loud. The only way to get around it is to get closer, have the cast speak up, lower the fan speed and run shorter shots, or rent a different camera.
  5. Who needs a lifetime warrantee on a fifteen foot cable?
  6. Looks like a Sony CR-4. It looks like the ring on the capsule only holds the strap, which is probably removable.
  7. Rubbery as in firm? My 302 has 'rubbery' knobs compared to cheaper mixers, which I'd call firm and smooth. Although the knobs are rubber.
  8. Let's not go there, but I agree. Do you know what this thing's called?
  9. Portabrace mixer combination bags are classic, my preference would be their organisers. At the moment I have a Petrol mainly due to availability in the UK – the 601 is a favourite for 552 and small other doodads, and is more flexible and adaptable than most Portabraces, but it depends on whether you're a messy or neat bag person. There will be somewhere in Houston where you can try a couple of bags on for size, they're cheap to get hold of and easy to shift. Remember that you may end up getting eight wirelesses and a lockit and NP-1s and distribution and maybe a recorder and you'll still want space for peripherals and accessories. I still wish I'd got a Portabrace, but their organisers are very hard to find in the wild in the UK, and are almost impossible to view before purchasing (not even the UK distro had any) so I took the safer bet and went with a Petrol, which I knew would work for me regardless of whether I liked it or not.
  10. And FAO Glenn, I'm personally not a fan of how Maxxes are more Windowsy than SDs (which are comparatively Mac-ish). It's got an advanced menu of lots of computery settings we're not allowed to fiddle with and a load of code on boot up that makes the device seem somewhat less polished and less slick than the SD units. If you can fix that and give it a routing matrix (plus an extra few dB of gain if possible, I've heard 10dB is good, but not always great), then my 633/Maxx decision will be entirely down to track count and how they feel in my hands.
  11. This thread is terrifying. If you need four isos and a stereo (with the possibility of an extra one or two in the mix if you have an A-D), get a Maxx. If you need at most eight tracks and Zaxnet, get a Nomad. If you want at least eight tracks and don't need Zaxnet then get a 664/CL-6. If you need between two and four radios and two booms, get a 633. With regards to the Maxx update, one thing I'd like to see would be a routing matrix. If they enable eight track recording then an eight to eight pre/post matrix, or otherwise an eight to four pre/post matrix. So if I had to add a mission critical extra track via the AES 1, I could sum the less important content on tracks 3 and 4 to track 3's iso and send AES 1 to 4's iso (as well as all to stereo). Currently, AFAIK, you can't sum to record tracks (other than via the stereo busses). Kind of like a four buss plus stereo. Being able to record the mono bus in addition to the others would be good, but it'd be much better if that were included in the routing matrix, rather than permanently routed to a particular record track. As for only having four faders – as great as a four fader pack would be, it requires hardware that simply doesn't exist. Ditto with the keyboard. Deal with it. Get a bigger mixer. Get a Nomad or a Fusion or a 664 or a 788 or one of the many alternate devices designed with more faders. Edit: Unless the GPI (which I assume is general purpose in) can be used for a keyboard input / 4x fader panel or whatever and retain a couple of AES inputs, that'd be cool, if the hardware can do it.
  12. I've soldered a couple of Hiroses before, but the only reason I'd buy a Hirose cable is because the connectors would make it just as costly. Other than that I solder pretty much everything. Never fixed a Lemo or a BNC, but I'd give it a go.
  13. I keep seeing Audio Devs. on ebay and just wish I didn't also need a bag.
  14. Forgive me, I've never been tethered to a camera via a breakaway – I'm assuming 2x bal and 1 stereo unbal is a standard cable, so why would you use any more than seven pins/cores? Just to split the grounds of the sends and returns?Just because Hiroses are cooler than XLRs?
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