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Jim Feeley

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About Jim Feeley

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  • Birthday January 1

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    Northern California
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    sound, journalism, producing
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  1. What headphones does your boomop like to wear? If Sennheiser HD25 (or something close to that), then I'd think what Csaba Major points to in post #3 might be a good place to start. If Sony 7506 (or something close to that), then perhaps the Remote Audio Universal Headsets. They have a high-noise version that David points to in post #4, and they also have a modified "regular" 7506 with a headset mic. And they have some adapters for various rigs. And there are options with little gooseneck mics and with cable chin/neck mics... Check out the page; it's clearer there: https://remoteaudio.com/products/hearing/remote-audio-universal-headsets/ Or you could probably rig up something with a detachable boom mic designed for gamers and voip users. For example: https://www.audio-technica.com/cms/accessories/4a5e9c8232ec6206/index.html
  2. Maybe Mozegear Flexbox? I haven't used it, but have used other Mozegear stuff with success. (Sorry if it was mentioned earlier in the thread) https://www.mozegear.com/phantom-power
  3. In the US, at least, a number of dealers sell these individually, so you don't have to buy six at once. Are there Point Source dealers in the UK? Or do you mean that you need six?
  4. I think they've moved to a dealer system. Here's a New York City dealer. I presume there are others: https://www.pro-sound.com/oscar-sound-tech.html
  5. Maybe look at Sennheiser G3 or G4 systems, maybe the new Deity system... and I guess there are options from Sony and Rode. And the go-to low-cost lav mic is (or at least was) something from Oscar SoundTech. In general, people on this forum don't work with low-cost wireless lav systems. But there are places where people do use those systems for professional work (ie- they need audio quality good enough to satisfy their clients), and some of those people work solo, I think. So those people probably have more familiarity with the options at your budget and for the kind of work you're planning on doing. Check out these places. Perhaps first read through recent conversations, and then if you can't find an answer to your query, post: https://www.dvinfo.net/forum/all-things-audio/ http://www.dvxuser.com/V6/forumdisplay.php?29-Location-Sound-Post-Audio
  6. Congrats! Do you know if you got a UM400 or UM400a transmitter? Don't forget that the A model has a Servo Bias input (something Lectro introduced about 15 years or so ago). So if you have an older UM400 non-A version, just be sure any lavs you get have their connectors wired to work with the UM400. Not the end of the world; both the UM400 and UM400a work really well. Some wiring details from Lectro here: UHF Transmitter 5-pin Input Jack Wiring The wiring diagrams included in this section represent the basic wiring necessary for the most common types of microphones and other audio inputs. Some microphones may require extra jumpers or a slight variation on the diagrams shown. Rest of the article: https://www.lectrosonics.com/Support/Microphone-Wiring/uhf-transmitter-5-pin-input-jack-wiring.html
  7. I don't know what YouTube video to recommend, but here are two books worth digging into: Producing Great Sound for Film and Video by Jay Rose, CAS http://www.greatsound.info Dialogue Editing for Motion Pictures A Guide to the Invisible Art, 2nd Edition By John Purcell https://www.routledge.com/Dialogue-Editing-for-Motion-Pictures-A-Guide-to-the-Invisible-Art/Purcell/p/book/9780415828178
  8. I figured you were using a heat gun, but just checking. 🙂 I haven't used a match for heatshrink since my rock-n-roll days trying to fix cables after someone (probably always the drummer) trashed them while on the road. I've also stopped using CA glue to get my fingertips back into shape for the next set... 😉
  9. Ouch! Do recall how you shrank the tubing? With a match or a heat gun? As in: maybe there's a temperature that shrinks the tubing but doesn't melt the cable? Regardless, good warning.
  10. I have a couple B6 mics, but they're not handy. I'd think you could use 3/16-inch 3:1 heatshrink, or maybe 1/8-in 2:1, or some similar narrow size and do what you want. Digikey has a zillion options. More managable to search is Markertek: https://www.markertek.com/category/heat-shrink-tubing But maybe consider some CA/superglue? About the cable getting microphonic, well it is 15 years old. It's probably dry and less flexible. Like my knees. I'd personally send Countryman an email and ask what they suggest (and what they suggest avoiding...like maybe CA glue). Maybe it's time to consider a replacement (and keep your current B6 as a backup).
  11. Thanks Al. Ya, that's my basic approach to small still/vid cameras, too. But I was wondering more if there was anything especially good or bad about the X-T3. Like remember the GH2 (or something from that era) has a 2.5mm rather than 3.5mm audio jack... Anyway, has anyone found any little happy or sad suprises with the X-T3?
  12. Al, just so I'm clear. Are you talking about your experiences working with the X-T3, or about your basic approach to mirrorless/dslrs in general?
  13. Producers haven't nailed down what they want. I'm just trying to be a bit ahead of the curve. 1) TC- if we go that route, the plan is to send it from a Denecke JB-1. Depends on bleed, for one thing... 2) Scratch- if we go that route, the plan is to send a mix from my bag to the camera via wireless (either Lectro 100 or G3). 3) Audio in general- thanks.
  14. Weird. Try contacting Sanken's distributor, plus24, and ask them what's up: https://www.sankenmicrophones.com/about/ And perhaps send Rycote a link to the Sanken page and ask them what's up: https://rycote.zendesk.com/hc/en-us/requests/new If you care, push them a bit. Someone's dropping the ball. I have no first-hand experience with Cinela's systems, other than trying them at trade shows. They are rather expensive, but lots of people here who own them think they're worth it; they'll probably chime in.
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