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Moesound

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Everything posted by Moesound

  1. While I haven’t used the X-1 or X-2, I do own the X-3 and X-3 Mini, and I have found the tech support from Aaton to be both timely and informative. They will be able to steer you in the right direction regarding hard drive replacement and CF bay. Regards, Moe
  2. We do this all the time on our show. You’ll need two Comtek systems. You mic the actor. However you send the directors feed to the actors (earwig, earbud, one ear), use one transmitter that’s sending only the VOG mic. The other transmitter (on a separate frequency, of course) you feed the actors mic. Director hears actor only, actor hears VOG only. Regards, Moe
  3. Many electric vans/cargo options on the near horizon. The market is there and will be filled soon, I believe. Been reading a lot about this very question, and it seems that most of the manufacturers have cargo vehicles in the pipeline. Here’s hoping! Best, Moe
  4. The man was ahead of his time! It was because of Jeff that more than a few of us bought our first Devas. Best, Moe
  5. Hey Fred, Here in the states, Sound and VTR are part of the same local (695) within the union (IA). That’s probably the reason. Regards, Moe
  6. Hello Fred, We just used some thin Canare cable, about 14 inches. No RFI filter. And yes, bridging ground to shell. I think the length of the cable helps, a lot. Regards, Moe
  7. Hello Fred, Yes, replacing the original Audio Ltd provided cables was practically the first thing I did. Those were useless. Once we made our own lemo to XLR, the hiss issue was solved...for my Schoeps anyway. For my older Neumann 81’s and 82’s, we still got the hiss. For those, we found that the hiss was present no matter what we did. Until we happened upon a strange solution: by placing electric tape over the release of the female XLR, slightly depressed, the problem was eliminated. We have since made a few new cables that bridge the ground, which we now use with our Neumann mics. Problem solved. The only suggestions I can make regarding the Schoeps, you probably already know. 1) You want to operate the A-10 on low power. 2) You need to use a late model Schoeps, or one updated to the gold backing. 3) You want to keep the cable as straight and extended as possible (we use a hair tie), and avoid crossing the antenna as much as possible. Warmest regards, Moe Hey Ronen, I don’t work out of a traditional “bag”, per se. The vast majority of my work is done off my cart. But I do run both digital and analog radio mics through the same Audio Wireless antenna distribution, with no issues. When I go “remote”, I use my Cantar Mini, 1 A-10 RX and 4 2040 analog RX’s through the same antenna distribution. So in theory, combing systems shouldn’t be an issue. But I can’t say for certain. According to another thread recently, some have had issues. Regards, Moe
  8. Hello Ronen, I’ve been using the A-10’s since they were released. We use them for our booms as well as on actors. They are my first 8 channels. If we get beyond that, I break out the older 2040 analog systems. Mainly we use DPA 4060’s, but also Sankens and in certain odd situations, the old Sonotrims. I’m a big fan of Audio Ltd, and have used their radio mics for many years now. Sound Devices owns them now, so I can’t comment on whether or not they are still built in England. The sound is the main factor in my choice. That should be the main consideration, in my opinion. You ask about battery life. We use 2 lithium AA’s, which get us 11 hours or so on the lowest power setting; 8 hours at medium; 5 to 6 on high. When powering a 48v Schoeps, at low power we get around 8 hours. The limiters are either on or off. We use them, and I find them to be virtually transparent. The mic preamp is excellent, as far as these things go. Obviously, it’s not a hard line into a Sonosax preamp, but for a radio mic, I’ve not heard better. Now, for the range. Keeping in mind that they are digital, I find for the most part that they compare favorably to most analog systems. Having said that, when used on talent I find that in general they don’t perform as well as my analog 2040’s...for the most part. Occasionally they are better, but not often. Mounted on a boom pole, we get exceptional range. As one would expect. I’ve done a number of antenna tests over the years, and now use the Lectrosonics SNA600 exclusively. Let me know if you have any specific questions, and I’ll do my best to answer. Regards, Moe
  9. Monte, Yes, I’m referring to a Schoeps CMC6, with a 41 capsule. Best mic ever, man Moe
  10. Hello Blackdawg, Preferences about subjective choices (such as microphones) seldom reveal anything new in such a small community as ours, mainly because there are relatively few to choose from. And everybody has a favorite and most of us think we’re right, and we never miss an opportunity to express our opinion. So I’ll continue the tradition: The CMIT is a fantastic microphone in the right circumstances (certain exteriors), but rarely my choice on any interior scene. That’s why I have one, and love it when the situation calls for it. But 90% of the time I choose the Schoeps 641. Interior and most exterior scenes it’s my first choice. But I’d say once or twice a year I’ll break out the old Neumann 82 (extreme wind, etc). Also, in the right hands and circumstances, a Neumann 81 is a handy old standby. BTW, you can’t go wrong with any of the mics you mentioned above. I’ve owned and used them all. There you have it: another old mixers opinion on the record! Regards, Moe
  11. Dear “filmsalang”, Every commercial in LA and SF that I have done since June of 2020 has of course required masks and PCR tests. On the Disney show I’m on, vaccines are required. And naturally we test 3 times a week, wear a mask and face shields around unmasked talent. And we wash our hands and maintain our distance whenever possible. And I’m 100% in favor of all these precautions. These are standard operating procedures, and will continue to be so until this virus is under control. You want to work on this show? No problem. Get vaccinated. What’s the big deal? This is the reality in the film business here in LA. How things operate in your town may differ. But it be hooves us all to get vaccinated and not listen to all the misinformation out there. And as an aside, if I were you I’d at least consider reading The NY Times before attempting to spread the misinformation you read on Rumble. Regards, Moe
  12. Phillip, Like you, I’ve had plenty of unpleasant on set prop gun experiences. And while some were of the low budget variety, most were not. And none were caused by the prop master or armorers. Those guys always are professional and explain to the crew exactly what’s about to happen. Every set I’ve been on involving guns followed a very strict protocol. The scare is ALWAYS with actors firing guns. They lose their head once a gun is in their hand. Many of the more macho variety insist they can’t “act” properly without full loads (I’m looking at you James Caan, and you too Kiefer Sutherland). And forget about it once there is a gun fight scene. It gets chaotic very quickly. What happened in New Mexico is a tragedy that hopefully will change forever how guns are used on set from this point forward. In that case, it seems like protocol wasn’t followed. Regardless, there is no need for an actor to have a real gun on set ever again. Moe
  13. Hello, I've been using the A-10 system since they were first introduced, and with my Schoeps CMC641's there has never once been an issue with RF noise. I've used them exclusively with Cinela and Rycote mounts. Now, on my older Neumann 81 and 82 there was a buzz. The workaround for those older mics was to apply a small strip of electrical tape over the release of the XLR, depressing it slightly, and this has worked every time. Ideal? NO, but it works. Also, the original blue cap cables I believe were too short. I keep them for backups, but I use the newer, longer versions with the A-filter built in. I guess I've just been lucky. Audio Ltd should be addressing your issues. However, they are now owned by Sound Devices and I'm not sure what their level of commitment is at present regarding the A-10's. Attached is a photo of my typical interior setup. Regards, Moe
  14. If this is the case, then I suggest you watch and listen carefully to “Being There”. This is perhaps one of the best sounding movies you’ll ever experience. All achieved by the great work of Jeff Wexler and Don Coufal, with the full support of Hal Ashby. What you are hoping to achieve has been done by many great professionals before, aided by supportive filmmakers. Regards, Moe
  15. RIP Evan. He was both knowledgeable and generous with his time. I will miss his wisdom. Moe
  16. Well said, Constantin. The sound of our radios is probably the most overlooked aspect of these discussions about features. We can debate our preferences, but how they sound is what it’s all about. Moe
  17. Hello, I too use the A10 system. While the vast majority of the time I’m working from my cart, I do have an over-the-shoulder setup for remote situations using a Protogear custom bag. On the cart, I have four dual RX which go into the Audio Wireless antenna distribution, which then accommodate two SNA-600 dipoles. The dipoles can be raised up to 15 feet, which I’ve found to work very well for the majority of situations. I’ve also got a couple of “shark fins” in case I need more distance. But in 99% of the time, the dipoles work perfectly. For the remote setup, I have three RX fed into the same model Audio Wireless distribution, which again accommodate two SNA-600 antennas. They are attached to the sides of the Protogear bag. This has worked well for me in the past, but I must state that I don’t wear the bag or try to boom at the same time. I’m usually sitting on an apple box on set, or in a camera car, with a boom operator, etc. I find that the bag is perfectly suited for my situation, but everyone has different needs which need to be taken into account. My bag wouldn’t work well in a documentary situation, where you need to move quickly and boom as well (I have a different setup for docs). And the SNA’s would not be my first choice in that situation. Antennas and distribution really help with digital radio mics, as the whips are only mediocre. That’s been my experience anyway. Hope this helps. Best, Moe
  18. This is an incredibly sad story. I’m so sorry to hear this. While I didn’t know Michael, it appears he was well loved and respected by the Nomadland team. My thoughts go out to his family. Moe
  19. My experience with having done many of them over the years, without violating my NDA, is that we boomed 95% of them. As Jeff stated, they hire great crews who generally respect the filmmaking process. And to an unusual extent for a “commercial “, we have plenty of dialogue and cooperation with post production BEFORE shooting begins. Moe
  20. You can certainly try Location Sound, Trew Audio, Gotham, etc. But I’ve sent mine back to the Isle of Man and service was great and not as expensive as you might expect. These are great little mixers and well worth keeping. Moe
  21. Tim, Well, it looks like the A-10’s are not for you after all. Every user has different needs. I’m sure that given the vast array of tools at our disposal, you will find the solution that works best for you. Best of luck, Moe
  22. Hello Tim, I can’t speak to the DPR situation, but I might be able to shed some light on the A-10 RF hiss. We too encountered this on our Schoeps CMIT and 641’s when we first started using the A-10’s. Our CMIT’s are also in Cinelas. First off, the original cables that Audio Ltd offered (with the blue cap) provided less RF shielding than their subsequent, more robust cable. These are a tad thicker and longer than the originals, and we have had zero problems since. Another thing to remember is to keep the cables extended down the boompole, away from the mic as elegantly as you can (we often secure with a small rubber hair tie). Keeping them straight and not twisted around the TX antenna helps tremendously. And finally, for best performance, keeping the RF power setting to low seems to work extremely well. We have noticed zero range issues when at this setting. Something else to consider is the vintage of the mics you’re using. With my older Neumann 81’s and 82’s, we noticed a grounding hiss that was alleviated when we placed a small piece of electrical tape over the Neutrik female connector solved the problem. Why? Who knows! With your CMIT’s, and my modern vintage Schoeps, this wouldn’t be necessary. Here’s hoping this helps. Moe
  23. Hello docsound, Thank you for posting that video from Rycom. That’s an impressive range test, to say the least. Even in optimal situations, those distances stand out. As I posted earlier, I use Wisycom for my IFB system, and their range continues to blow my mind. My post was never meant to disparage the Wisycom brand, or any other, but merely to express my opinion when compared to my digital A-10’s. And as someone noted in a later post, there seem to be many who are dissatisfied with the performance of their Audio Ltd experience. They work for me. Wisycom seems to work for you. Jeff (and many others) swear by Zaxcom. And the vast majority of sound departments the world over love Lectrosonics! I say, how lucky we are to have so many bitchen choices that a mere 25 years ago would have seemed like magic to our ears. Anyone remember Vegas? In short, we’ve got it good, my friends. Moe
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