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Everything posted by ShubiSnax

  1. Rehashing an old thread 7+ years later haha. As a beginner woodworker, I too decided to build my own set and jumped right in before I knew what I was doing. I bought a 4x8 sheet of 1/2" birch plywood from the local big box store(the most expensive 1/2" plywood they had) and made all my cuts before I realized the difference between birch plywood and baltic birch plywood. I realized my "birch" plywood was mostly poplar. While it's very lightweight, it's just not as durable or stiff as baltic birch. Well since I made it this far, I'm not turning back. I ended up getting some oil-based enamel paint in flat black. I plan on sealing the boxes with primer, then at least 2 coats of enamel. Hopefully this will help the boxes hold up to some abuse. Also, I'm using Titebond III wood glue, as it's waterproof and will hold stronger than regular wood glue. I'll end up building another set out of baltic birch or radiata ACX plywood in the near future that will have greater durability, but I welcome these mistakes as long as I learn from them. PS: Don't buy wood from big box stores. Learning this the hard way but there's better wood for cheaper out there. Just do some looking around.
  2. Time to sell the Tascam DR-40..
  3. Replacement antennas run around $6 here in the states. https://www.fullcompass.com/prod/530295-sennheiser-575297-antenna-486-558-mhz-for-g2-and-g3 If you can source one for cheap, might be worth replacing it yourself if you have a soldering iron and some torx bits.
  4. They might seem to work fine, but if you ever get an rf hit with these units(and you will) the antenna length will be the first thing on your mind.
  5. I got a couple of these from Trew at the end of May and they work great. I would have preferred they kept the hirose connector only because I already have P-tap to hirose cables so I could just power/charge from the camera rig battery.
  6. From page 39 in the user manual: Direct outputs 1-6 may be used as line inputs 7-12, in which case the functionality of the PFL switches on the 664 changes. This is called 12-Channel mode. L Simultaneous PFL of multiple inputs is disabled in 12-Channel mode. Also, when switching to 12-Channel mode, meter views are not automatically changed, so inputs 7-12 may not be visible. For more information, see Meter Views. To enable 12-Channel mode: 1. Press the MENU button. 2. Turn and press the Headphone encoder to select INPUTS > Input Mode > 12 Channel. L The INPUTS > Input Mode submenu is disabled when the CL-12 linear fader controller is connected to the mixer. While in 12-Channel mode, PFL soloing and access to Input Settings screens are combined for each input (1-12), with each PFL switch applying to two inputs. For instance, in 12-Channel mode, the first PFL switch on the far left of front panel applies to inputs 1 and 7. The next applies to inputs 2 and 8, and so forth. However, it is also possible to view each input’s Input Settings screen without PFL. Solo (PFL) and view Input Settings for 1-6 while in 12-Channel mode: X Slide PFL switch left. Solo (PFL) and view Input Settings for 7-12 while in 12-Channel mode: X Slide PFL switch right. Access Input Settings screens without PFL while in 12-Channel mode: X SELECT + PFL: press SELECT encoder and slide PFL switch left (1-6) or right (7-12). Page 53: The 664 features 16 recording tracks. Each of the 12 inputs is permanently routed to its associated ISO track. Buses L, R, X1, and X2 can also be armed for recording. ISOs for inputs 1-6 can be sent to both pre- and post- fade, while ISOs for inputs 7-12 are routed post-fade only. X1 and X2 can record any combination of channels post-fade, but channels 1 and 6 may also be routed pre-fade.
  7. I use a travel toothbrush holder for mine. Bits of foam in the ends make it a perfect fit.
  8. The American jobs that have been created have FAR outweighed any that have left. Can't argue against the numbers.
  9. You probably have the Sennheiser SKP 100, which does not supply phantom power. The 300 does.
  10. The Sennheiser SKP 300 G3 has 48v phantom power.
  11. http://www.qsl.net/kd4sai/antencal.html
  12. A 1/4 wavelength whip antenna would be a hair under 3 inches long.
  13. I'd say they're about the same thickness as the stock Comtek pads, maybe a touch thinner. I didn't notice any difference of comfort, but I haven't worn them for a 10-hour day. I haven't had any complaints from producers or clients in the 2 weeks I've been using them. https://www.ebay.com/itm/Bluecell-10-Pair-of-Black-Color-Replacement-2-50mm-Foam-Pad-Earpad-Cover-Cush/253360275733?epid=1807465820&hash=item3afd730115:g:UmEAAOSwZ3BaVqjp
  14. Just following up, Comtek got back to me and they sell replacement foam pads(LS3-ER) for $3.75/pair. I ended up sourcing some cheaper ones on Ebay made by Bluecell. 50mm size circular but they fit perfect. $7.41 for 10 pairs shipped.
  15. Did you find anything that worked? I'm having a hard time finding some replacements. I contacted Comtek but I imagine I won't get a response until Tuesday at the earliest.
  16. I use $20 backpack rain covers from REI for both my bags. They compress down smaller than a can of soda and are permanently hooked to the sides of my bags. The elastic draw string helps secure the cover. Only downside is you can't see through it, but for $20 it's not really an issue for me. The 20L size fits over my Petrol PS602 no problem.
  17. In my experiences with consumer cameras, post is always fine with a TC slate and clap. There's been only a handful of instances in my career where audio TC has been requested and I'm happy to oblige. I just don't want to give an editor a nasty surprise when they first hear that TC audio track with headphones on.
  18. From SD: "The MixPre-10T is expected to ship by the end of October"
  19. Although reality tv is a different beast, approaching a shoot like this is like anything else. Find out what type of camera(s) they are using and how many, find out how many wireless mics and how many IFB's you will need. It's pretty standard to send a wireless reference (mono) mix to all the main cameras, as well as a decent camera-mounted mic and timecode sync between audio and all cameras. Any secondary cameras without timecode should be slated with a TC slate. When dealing with lots of mics in reality, automix is your friend. Also good to have an A2 that can run around with a light boom rig and help with miking cast(booming all day with a 788 rig strapped to your chest is asking for back problems). Finally, talk to someone in post to find out their preferred delivery formats and file types and as always, name your tracks and create sound reports.
  20. Hey guys and gals, Bit of a noob question, but I'm having some trouble figuring out how to wire my cable. I want to run a Lectro R1a as a wireless reference track to camera(Arri Amira) I need to wire a 3.5mm trs to XLR. I'm concerned that the R1a will output a dual mono signal because it thinks stereo headphones are plugged in. I just want a balanced mono signal from R1a to single XLR input on camera. Is this possible? Thanks for your input and or output
  21. Sorry for everyone's loss. He leaves much to celebrate and remember.
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