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Jim Feeley

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About Jim Feeley

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    Hero Member
  • Birthday January 1

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  • Location
    Northern California
  • About
    sound, journalism, producing
  • Interested in Sound for Picture
    Yes

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  1. I haven't had my InVision mounts come loose, but your Locktite fix sounds like a good fix. If they come loose again, contact Rycote and ask what's up; they'll probably provide good help.
  2. Ha! The only fake part is that when panicking, you can't make a phonecall to this forum... 😉
  3. What source and what boom mics generate this problem for you?
  4. To be clear, I've had other equipment failures; some User-Generated Errors, some Not My Fault. Most show up before we're rolling so I have a little time to fix what's broke, reach for the backups, change my approach (and tell the client; sigh), or otherwise get things squared away. But Brain, let us know what kind of sound work you're thinking of doing...
  5. Seems like you're on the right path; you're ready to have a backup machine and just want to figure out what are appropriate choices, right? And terminology is in flux these days. Lots of devices are both mixers and recorders. Me, I've only had to reach for my backup mixer/recorder a couple times due to equipment failures. Both were stressful, but the producers were super happy that I was able to get back up and running in a few minutes (felt like hours for me). In those instances, my backups were my previous-generation equipment (audio quality the same, but fewer features and tracks). So I haven't bought two new mixer/recorders at the same time. As for what products to buy, think about how many channels you need to record even in a backup/emergency situation, how portable you want to be (like do you want a "big" recorder/mixer for some jobs and a "small" one for others with one or the other always available as a backup)? And how much can you afford to spend? With a 552, would you be OK with the non-timecode two tracks it can record internally (IIRC), or would you want to pair it with a 744T which would give you a bulky (by today's standards) but functional setup...though without a screen. Or would a Zoom F4/F8 be a better backup for a nicer Sound Devices or Zaxcom mixer/recorder? You'd have a couple different interfaces to learn (and you need to be able to work your backup recorder at a moment's notice), but that could work I think. Note that buying used can be a good thing, especially right now as Sound Devices and Zaxcom roll out new products...their slightly-older products (Which work just great) are showing up used at good prices. So before we get specfic, what type of work do you do or plan to do? How many tracks do you need? Do you expect to be mostly on a cart, mostly working out of bags? What sort of budget do you have? And how much experience do you have? Buying both a 688 and a 633 to start out would be great, but that's a very serious expenditure. Anyway, let us know and people here can probably make some really helpful suggestions...
  6. I'm pretty happy with my Rycote InVision/Lyre mounts. Though I'm thinking of adding a Cinela...
  7. Maybe? If it's old and used enough, I wonder if the cable and housing around the head would be vulnerable to cracks as you mount and use it. At least, I recall last year I found some old (15+ years, I think) Countryman mounts I had stashed somewhere...four or so crumbled like old bakelite plastic. I ditched the rest. Anyway, maybe ask Countryman directly. In my experiences, they respond pretty quickly. support@countryman.com But at best, I'd probably consider your old ISOMAX EMW as a third-string backup.
  8. In my little world (corporate, docs, and very occasional indies), I see 24/48 sticking around for a while. What do you think Max?
  9. Lots of choices. To emphasize/repeat a couple of John's questions... -What's your budget? -What's your intended primary use? (ie- doc dialog, music, nature) -Do you care about timecode? -What makes you want to retire your Fostex?
  10. Ah geez. Tuchel and the 435 are pretty much before my time. Are all 435s Tuchel?
  11. A PSC barrel will be $40-50 (perhaps less used?). Might work fine for you if you're OK with the total length. And would be a less-expensive way to find out if you even like the 435.
  12. Just in case you haven't worked with T-power before... (I have no idea)... Before you spend the money on Pete's T-to-48V conversion (which I'd guess is around $200), maybe buy a PSC barrel converter for under $50 or a Denecke small-box converter (which works fine in a bag; I have one) for um maybe $100 new or used? That is, of course, if you don't have a mixer that will supply T power (such as a Sound Devices 302 or 442).
  13. If you can find a 435 in good condition, you could send it to Pete Verrando who will also convert "most" 435 to 48V. See text towards bottom of this page: http://www.416tupgrade.com/416Tupgrade.com.html
  14. Seems like there's been lots of helpful responses and ideas in this thread. Take them as you will. Let us know what ends up working for you.
  15. If you make any type of edit, you're fixing it in post. Anything else is a matter of degree.😉 There's nothing wrong with doing post work to get the feel, sound, and impact you want. Trey's suggestion of using an 8060 sounds good (<-- Ha! "sounds good"! I crack me up). What other mics to people here know of that have a response similar to a 416? Jim "doesn't use his 416 much these days" Feeley
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