absound

Agreed.

I’m based in the SF Bay Area and got the exact message yesterday. After sending my rate card and asking about the gear rate, I got a reply with lots of unusual wording which could be a translation issue saying they want to use their audio equipment. I only work with my gear and will pass but it does seem a bit sketchy to me. Here’s part of a much longer message: “I'm thrilled to extend to you a pivotal role as our sound mixer for this project. Furthermore, we'd appreciate your assistance in managing essential sound equipment, with funds allocated to you beforehand for any necessary arrangements on the location set. Given your track record in coordinating sound equipment in previous productions, I'm confident you'll excel in this capacity. While we understand the need to use your equipment, we'd prefer you to utilize ours for the project duration. Regrettably, we've encountered a setback as our main mixer is unavailable due to personal reasons, he just lost someone in the family. Our replacement hire from the previous shoot hasn't met our expectations either. Consequently, we're seeking an individual who can execute instructions seamlessly, demonstrate resourcefulness, proactively tackle challenges, and ultimately outperform our current hire.“

He was a great teacher and sharer of knowledge that I too will miss. RIP.

Hi All, In the past 2 weeks I have been asked to record 2 interviews remotely for ongoing documentaries and I opted for sending a simple audio kit along with an 8 minute "how to connect it" video I made on my phone. I sent a Zoom H6, a short XLR cable and a small folding tabletop mic stand to hold a Schoeps MK41. Did the usual COI with client and sent everything via FedEx. I had to wait 3 days to get the gear back and then hear if worked out. I did ask the interviewees to wear headphones for the first minute to make sure there was no obvious problem but beyond that there isn't much one can do to judge the quality of what is being recorded. Definitely don't want this to be the new normal even though it turned out really well both times. The Voice App idea isn't bad either. Thanks for sharing that Jim. Adriano

Thanks for the reply.

Hi, I hope everyone is enjoying the weekend. I have a question regarding a file that is playing back a close to double speed. This was first noticed after it was transferred from the Maxx after a job along with all the WAV files as I normally do. After noticing the problem, which occurred on only the last file of many recorded that day, I re-transferred that file from the MARF thinking it was a simple transfer error. But the version converted from the MARF via Zaxconvert has the same double speed issue. Now I have played the same file in the Maxx and it is also a double speed. Obviously this is not how it sounded while I was rolling. Luckily for me, I was also feeding two cameras so no audio was lost but it is nevertheless quite disconcerting. I know I can experiment with changing the speed to closely match the original normal speed of the other files but I am really wondering what may have caused this and how to avoid it in the future. This has never occurred before on either the Maxx or Nomad and it did not occur with any other files from the same day folder. Any tips would be greatly appreciated. Adriano

Thanks for sharing. Looks really fun and beneficial.

PM sent

I asked Neumann/Sennheiser about this same issue a couple of years ago as I wanted to modify or upgrade my beloved KMR81s and KMR82. "Can't be done" was the answer. This is the response I received: "There are no upgrades or modifications to make the KMR 81 lesssusceptible to RF-interference. The circuit design already greatlyreduces the likelihood of intereference unless there are othershielding issues, which are nearly always resolved by properlyterminating the XLR-connectors (connecting the shield to pin 1 andthe ground lug). We recommend using cables that have Neutrikshielded connectors.Thank you for contacting Neumann USA." Adriano Bravo

I have used the ones sold by Audio Department referenced by Gene for both the Lectro SRb and Zaxcom QRX200: Locking and Right angle at both ends and they work great. Adriano

Hi Simon. Just saw your post seeking help. Happy to do it if you still seek assistance. Here's my info: Adriano Bravo +1(510)5511135 Soundbravo@gmail.com

Thanks for the info i-mix

Hi Mike, Any chance you could upload a picture? I would like to make sure I have the right idea before I destroy my sled. Thanks a lot.

Hi Eric, I had a pair of cables made by Trew Audio to do exactly what you need. With parts and labor each cable cost $105 and they are worth it if you work with these cameras often. As Andy stated above, the main thing to consider is how often you think you'll work with the Epic. If not very often, you might get a more versatile version of the cable with BNC for the timecode and add a short jumper to go from BNC to the 4 pin Lemo so you can use the cable with a broader range of cameras. Adriano Bravo

Hi Jeff, I would like to echo some of the above sentiments: The site is incredibly useful and I am constantly amazed by the spirit of generosity demonstrated by many members regarding gear and tips. I remain a reluctant writer but a voracious reader of many posts. Thanks for all the work you do to keep it going. Adriano Bravo www.soundbravo.com

Hi, Congratulations on getting a fantastic microphone. In my experience, it is normal for this microphone to want more power than others and for the gain on your mixer to be higher than some other microphones. I have also found you have to wait about 10 seconds to have sound after you give it phantom power. Once it is working, it is a wonderful microphone for many situations. Adriano

Derek H "I'd like to see a pic showing how you mount two SNA600s in a bag. " Yes please post a picture or two. Thanks.

Hi Fred, I have rented wireless mics in Japan on several occasions from a place called Tisman Service. I obtained their information from a Tokyo based sound mixer who told me they were the best and offered good prices. Please note that, as far as I know, they do not speak english and I had our local fixer handle the transaction. Tisman Service Phone : 03-3668-3333 Mics in Japan can be Type A or Type B. Type A is more powerful but requires that you apply for a permit that lists when and where you will be using the mic. As you can imagine, this can be hard to do unless you are working on a feature film with locations that are known in advance. Type B is less powerful and imposes no restrictions regarding use. I have rented Type B mics 4-5 times and it has always been a Sony diversity system though once I got a Panasonic one (the wireless mics division is called Samsa). Both worked as expected but the Panasonic was really big in my bag and not as intuitive to use. Please note that neither transmitterSony or Panasonic) had Lemo or TA5 connectors. Instead they used a large connector that most resembles a BNC so make sure to rent a complete system that includes a lavalier. Here are links to the various options: SONY WRR-850 / WRT-860 http://www.videoservice.tv/shosai/audio/ss800a.htm WX-RB700 / WX-TB400 http://www.videoservice.tv/shosai/audio/rd800sb.htm I hope this helps.

I get the same error message when trying to access some of the categories (Nomad) but not others (Digital Wireless). I wrote a note to the site administrator 3 days ago and am awaiting a reply.

Thanks Michael for a great post. I too am very interested in learning about integrating the SRa units with a Nomad in a bag. I am particularly interested in learning more about the difference in the RF interference when the SRa and Nomad are powered from the same source, as that is probably the most common powering solution available to us in the bag mixers. I currently have a 552 mixer and notice a difference with the RF scans when I power my 411 receivers separately from the 552. Please keep the scans and suggestions coming.

Thanks to all of you for your replies. I have been curious about the Super CMIT and will check it out. Also, I see that my much loved and trusted Neumann KMR81 has a new digital brother that I will also want to listen to before making a final decision. Thanks again...

Hi Fellow Soundies, I am looking to add a microphone to my growing collection and would appreciate some advice. I am looking for a mic to be used specifically for interviews in noisy locations. The mic may end up on a mic stand or on the end of a boom pole, but always out of frame and will be used in situations where my trusted Neumann KMR81 does not reject enough of the ambient noise. Examples of the types of very noisy locations where I have been recently include a gold mine with lots of machinery, several construction sites and a beach with crashing waves. Often a well placed lavalier does the trick but I would like to have two clean tracks of audio. Since I always record separate ambient sound, I would like to be able to record very clean interviews and allow the editors to ambient sound in Post if the interview audio ends up being too clean or quiet. Thanks in advance for any suggestions. absound

Thanks Rich, I followed your advice and all is well. Thanks again.

Hi Rich, I too have a problem using Zaxconvert, but only on my newish iMac running 10.6.7, whether I put the SD card directly into the iMac or use a card reader. When I use the software on my older MBP, under 10.5, it works fine. I'll try your solution about creating a new user account. When you did it, did you do anything special beyond choosing a new user name and password? Thanks for any tips.