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  • Location
    Chicago, Illinois
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    Guitar, Volleyball, Concerts, Politics,
  • About
    I've been mixing location audio for about 10 years now. I went to Columbia College Chicago with an emphasis in post production audio. I've mixed several local and national tv and radio spots for various production houses. I've also mixed many indi films and get to sound design for some some Chicago Bulls spots once a year. But for the last four years I've been doing more location audio than ever. I usually do corporate interviews, but I'll do a car rig, reality show, or a commercial, here and there, too. I've even been doing location audio only, for some weddings on the weekends. Thanks to the DSLR cameras I get work from places, I never thought would have valued my services.

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  1. Earlier in my career, in a pinch I put a 4''x4'' piece of moleskin on a really hairy guy and then taped a mic in the middle of that. The moleskin didn't really stick to the skin, but to the hair and the whole rig ended up floating against his t-shirt. Amazingly enough it looked and sounded good...I had him remove the moleskin on his own time, I suggested he take it off in the shower.
  2. Thanks Derek, I think I'll take the same route you did and at least soldier on a new fml XLR end. I'm going to trim off about 4" and see if that does it. I'll probably end up sending it in, but I'll take any excuse to work on my soldering skills.
  3. I have a K-Tek 152CCR that makes a high frequency static like noise when I extend and retract the pole. When I'm not extending, it seems to sound fine. I made my own boom pole case from PVC pipe and about a week ago when I was unscrewing the cap, I had noticed the female XLR at the top of the pole, got caught in the square hole of the cap and took several twists before I could get the cap off. There was another instance where a camera guy stacked some equipment on top of the boom when I wasn't looking but I didn't see any damage from this and don't think that's the culprit. But I thought it was worth mentioning. I'm wondering if this is something I should try and fix myself- cut off about 4'' and soldier on a new XLR or maybe just replace the internal cable all together, or if you think I should just send it in.
  4. I finally got a new hip pouch after my other one broke down. I keep my moleskin, topstick, mini gaff tape, wireless accessory pouch and even a few leg bands in there, among other things. What's the best way to post photos on this site? did these come thru? https://www.icloud.com/photostream/#A95VaUrzLGbG5 https://www.icloud.com/photostream/#A9GtnIORGscPB3
  5. Also, the avid has a master fader, it's possible that it may be boosted 5dB in a menu that's not up much
  6. I really liked what Randy Thom had said about casting the right sounds, just like casting a group of actors. That's brilliant! and validating I've often spent a large amount of time finding or making just the right sounds and textures, and almost always found that it paid off in the end.
  7. Subtitles are the poor man's ADR! When I'm on a reality shoot and its impossible to get that line, in that shot, at that time, I think to myself: there's always subtitles then I eat a Luna bar!
  8. On some of the reality work I do, all I can do is cringe when hugs and chest thumps occur. But it does reinforce my tendency to put it on the women's skin when tapeing it to the shirt is also an option. . Sometimes, I find that placement works with certain hugs. It's muffled but it may have a shot of getting dug out in post with EQ with not too much clothing hopefully. As far as clothing noise while moving and environment, the sound source is generally the mouth and the closer you are to that, the more signal and the less noise you are capturing. But, at a certain point the closer you get to the source the worse the tone will be and what they have to do in post, to make that lav placement sound decent may bring up the worse part of the very street noise you were trying to reduce. In a perfect world we would never need to use EQ, but we do and we can make voices sound more natural with EQ but I think the hardest thing to work around is clothing rustle. So my priority is pretty favorable against clothing rustle. Of course the tone of the voice the subjects physical proportions and the circumstance plays a major factor as well. Which leads me to a question I've been wanting to ask yoll for some time. Wait no I know better lol
  9. Sometimes I'll loop a B6 cable and the mic In a moleskin sandwich for strain relief. That way there's some give if it gets pulled.
  10. I totally understand, thx for listening!
  11. Actually it's the latest IPhone version. I've had to train myself to hit the title screen on the top of the menu to get the master list of project files or the menu of profiles. It's definitely not a deal breaker but the only issue I've come across. It just doesn't have that natural flow of a folder within a folder that you can go into and back out of.
  12. It works great but its hard to leave one project file and see the master list of project flies, maybe I've missed it but I think a back button is in order Love the app, Thx!
  13. I know I can engage and bypass each channels' limiter individually but I would like to see threshold, ratio, and release time parameters as well. Or at least be able to have different limiting settings between the input channels and the output busses
  14. Hi Palmer T, I Like to go a few dB below the SMQVs' limiter, to get the best signal to noise ratio between the mixer output and the Tx inputs. I like to come out of my mixer line level, w cables I didn't bother to make because I'm too hesitant to take that risk of a cable going out in the field. But make sure they're wired to go into the SMQV line level, it's wired differently than mic level. I have a 788 so it's very easy for me to send out 0dBFS tone from my mixer and Dial the analog gain down just below the first red light n the transmitter. If you see the extra long clip spike on the receiver you'll know you're still hitting its compressor. I find some cameras give me no decibel reference at all and the only way to calibrate them to your receiver with any certainty, is to send 0dBFS out of your mixer. I also think that wireless gain varies and isn't as consistent in gain as cables. so I dial my limit, it just short of clipping limit of the camera. Then I fire up a mic and crank the pre and see if I can clip the cam with an audible "check" into the mic. I alway listen to it in each channel to make sure it's clean and similar to its feed, then I turn down my faders and make sure that the system isn't noisy. I think that hiss sound you were describing may be the noise reduction on the SR reciever end. I would turn them to "Off" on the SR menu settings. It's possible that you're using that lectrosonic noise reduction on the talents lav, as well as, your camera hop
  15. I use the mix bus limiters on my 788 outs, to cameras as a safety but I like to pop up my IFB feed about 5dB before the limiter to make the dialog more consistent for the producers. I could make them over easy and lower the threshold, but unfortunately that effects my input limiters as well. I wonder if a firmware update could ever give us better control of the limiters.
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