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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. Thanks for the update Madno. Please keep us informed!
  2. Ya, but this is for stuff I'm producing. My fairly limited experience in sending a box of parts to someone and expecting them to configure everything correctly is really time consuming and not consistently wonderful. A couple people have gotten into it, and gave us a FaceTime/Zoom tour of their location (a house, and an office) to help us find a decent background etc. But others stressed at having to mess with a small camera and all that. So as much preconfiguration as possible seems really good. My current idea is ship them a laptop and an iPhone. Just about everyone knows their
  3. This looks potentially useful to me: That picture (and another of the mic attached to a laptop) is part of this DPA PR article: https://www.dpamicrophones.com/news/gene-martin-calls-on-dpa-4097-micro-shotgun-for-sales,-rentals-and-field-production This quote from Gene Martin is promising: “The commercial was shot as a series of video chats from mobile devices and laptops, so we needed something where the actors could be walking around with their phones and not have a large recording device with them,” says Martin. “The client was happy with the vi
  4. And yet, you commented! Wait. Let me translate that into Nolanese. @#%^*(&. ?( ______________%&^P{}>:K I kid. Ya, I'm mostly done with this. But I find it interesting that general-interest media such as The Guardian, are noticing and discussing. And for me, it really does get in the way of his films. But at least having Nolan take credit/blame for this lets people know that the sound department didn't screw up... Some of my non-film/video friends have also commented on Nolan's sound... I don't recall them mentioning that in other mainstream (e.g., non mumblec
  5. In case you're not tired of the topic, here's a column from today's issue of The Guardian, prompted (I guess), by Nolan's new book. ==== Tenet up: listen, Christopher Nolan, we just can't hear a word you're saying The Tenet director has dismissed critics of his poor sound mixing by blaming us for being too conservative. Why must he keep toying with our perception of sound? We’re all aware of the impossible situation that film currently finds itself in. Screens started shutting in the summer. This is because the big new movies have all been postponed. This
  6. Ya, Down Home and Arhoolie are less than two miles (~ three kilometers) from my house. Les Blank worked in a room up the stairs by the back racks (his Steenbeck sat unused in the back corner because it was too difficult to move down the stairs). Several times while browsing at Down Home, I'd like the record/CD the clerks were spinning and I'd end up buying that. Such a great place. Whenever any of you are in the San Francisco East Bay (e.g., Oakland, Berkeley, etc), it's worth swinging by Down Home for a visit. https://www.downhomemusic.com
  7. The SFO Museum does fantastic work. I have friends who are curators at two of the big-deal museums out here (SFMOMA and De Young) and they consider the SFOM people true colleagues who do good work. Because they do! 18ish months ago, SFOM had a great exhibition on Chris Strachwitz and Arhoolie Records. I just stumbled upon it and was SO glad that I was early for my flight and got to absorb the exhibit. They had his Magnecord tape recorder and explained how that recorder was crucial to his work. Also had lots of other cool artifacts: https://www.sfomuseum.org/exhibitions/down-ho
  8. Oh; that book. Yes, it's a real book. But um, as you've probably already seen: https://en.wikipedia.org/wiki/The_Hidden_Messages_in_Water
  9. I remember liking Allen & Heath's 1604-sized mixers. And I regularly work on their digital Qu-16 and Qu-24 mixers and like them. So perhaps there current small analog Zed line is worth checking out. Looks like a couple of 16 and 18-channel versions are rack-mountable. https://www.allen-heath.com/key-series/zed-series/
  10. Thanks everyone! I'll keep an eye (and an ear or two) on the Cat6 stuff. But for now, I'm heading over to Audiopile! Jim
  11. I'm looking for a new XLR analog snake. Maybe up to an 8x4, but a basic four-channel snake would see more everyday use. I think I want a small junction box at the input/XLRF/stage end rather than a fan. Leaning towards 30 meters / 100 feet, maybe just half that distance (still thinking). Not thinking of DIYing; my soldering skills are still OK (and improving because of some hobbies), but I don't know if I'd get everything right on a snake. Not really a fan of Whirlwind (are they better these days?), definitely not a fan of Hosa. Considering a Cat-5/6 system. Is that a good idea? Wh
  12. Here are some of Glen Trew's thoughts from several years ago; don't know if he still feels the same way (but he does and can of course chime in if needed). From an article on Trew Audio: "Part of what made the Schoeps MK41 so desirable for film and video dialog recording was the “soft edge” when transitioning from on-axis to off-axis. The Sennheiser MKH50 goes from the on-axis sound to the off-axis sound more abruptly, resulting in a surprising off axis sound if it’s being worked by someone accustomed to the Schoeps MK41. Anyway, the long and short of it is that, if you
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