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Moesound

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Everything posted by Moesound

  1. 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
  2. RIP Evan. He was both knowledgeable and generous with his time. I will miss his wisdom. Moe
  3. 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
  4. 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
  5. 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
  6. 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
  7. 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
  8. 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
  9. 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
  10. 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
  11. Hello Bems, I’m a longtime Audio Ltd. user, so you should take my opinions with a grain of salt. However, I’ve just run a side by side test with the Wisycom system to see how they perform together, so I thought I’d pass along my impressions, biased though they may be. To address your first question, I found the A-10’s to sound better than the Wisycom’s, but that may be because I’m so used to hearing the clarity of a digital signal. We performed tests on male and female voices, as well as the dreaded “key test”, first with a DPA 4060, and then with a Sanken COS-11. To my ears, the A-10’s were considerably better sounding across the board. The Wisycom’s to me compare very favorably to the Lectrosonics range. But again, only an opinion. Your tastes may vary. Regarding range (distance of signal), the Wisycom’s performed very well. I use them as my IFB system, and I’m continually impressed with both their sound and range. But both the A-10’s and the Wisys went about the same distance, only the Wisycom’s signal began to degrade and fritz at their limit, while the A-10’s simply stopped sending signal. I’d say in general the Wisycom’s consistently went about 20/25 feet further (which may be the extra distance you needed). So there’s that. I might also point out that all tests were done with my standard antenna setup, which is two SNA-600 dipoles. I do know that Wisycom makes some fantastic antennas that I’ve heard great things about. All in all, since Audio Ltd’s most recent update, the range has more than satisfied me. Regarding new transmitters, I don’t know about Wisy’s future plans, but I know that Audio Ltd is planning on a small TX, hopefully soon. It’s supposedly based on the size and style of the old 2040 Mini. At any rate, I thought that the Wisycom system was very well built, easy to use and certainly acceptable in every way. Hope this helps, Moe
  12. AZW, While many of us older sound folks have had great success over the years with the classic long shotgun microphone in various situations and environments, most would say that a basketball gymnasium is not one. If it’s an exterior court, you might have better success; but like all of us filmmakers, the frame pretty much dictates our ability to capture clear dialogue with a boom. In any case, I’d recommend a Schoeps. Despite having used just about every “shotgun” made over my career (Sennheisers, Neumanns, etc), nothing beats a CMC641 for natural clarity. Best of luck, Moe
  13. Dalton, I have not used the MM 1 with the A-10, as that would sort of defeat the purpose of the system. However, many years ago I used the MM1 with the CMC641 into a Lectrosonics 411, and it sounded pretty good, all things considered. Now, maybe it’s the clarity of the digital transmission, but to my ears the Schoeps through the A-10 mic preamplifier sounds as close to a hardwired boom as I’ve ever heard. But please remember, these things are highly subjective and strictly my opinion. I believe Zaxcom and Sony and Lectrosonics all have excellent systems as well for wireless boom. I’ve tried them all, and I just happen to prefer the Audio Ltd. Regards, Moe
  14. I’ve been very, very happy with the Audio Ltd. A-10 transmitter on the end of the boom pole, cabled to a Schoeps cmc-641. Brilliant sound, easy to use. Moe
  15. Hey Jeff, That’s a slick set up. It’s phenomenal how far our sound world has come in so short a time. We should all count our blessings at all the options at our disposal these days. Thanks for sharing. Moe
  16. Fantastic! Thanks for sharing, Al. Great little documentary. I got this album for Christmas (along with my first stereo!), sophomore year in high school. Fond memories. Moe
  17. Hello Sciproductions, I wouldn’t go so far as to say that the preamps were the main factor in my buying the Nagra Seven, but it’s certainly a consideration for me. They sound great to my ears. But that sort of opinion is simply that: an opinion. It’s also simple to use in the field, has a well laid out menu, features a touch screen (which is not everyone’s cup of tea, but one that I value highly) and after several years of use has proven itself to be remarkably reliable, in all conditions. It also makes me happy using it, as esoteric as that may seem. Having said all that, the 702T (since you brought it up) is a fine machine built by a great company. I owned and used one many times with good results. The two recorders are both worthy machines that any mixer would be lucky to use. I’m happy with my Nagra, but clearly it’s a specific use tool that probably has more usefulness in live music that in our film world. However, I have no regrets. Regards, Moe
  18. I use my Nagra Seven in the field often, although not on my cart. I use it for documentaries, insert car work, on buses, trains and other tight quarters requiring portability. If you don’t need multiple tracks, where a simple two track mix will suffice, the Nagra works very well for my purposes. Brilliant preamps, easy to use, very reliable. Not for every scenario, but a very nice tool to have at my disposal. Moe
  19. And of course, “How does it SOUND, baby!”....
  20. If we’re still on the original topic, then I can attest to the A10’s resistant to moisture. I’ve had them on many a sweaty actor over the summer, and they’ve come back to us literally dripping wet. We’ve had zero issues regarding moisture. If we’re now discussing the other systems, I can’t comment. Regards, Moe
  21. Regarding the Bluetooth feature of the A10’s, we use it all the time. It’s quite handy for all the obvious reasons, and yes, we’ve used it during shots. Mostly we use it to put the TX to sleep or adjust the LF without having to bother the talent. But while this feature is very cool, the range is not. Perhaps 10 to 15 feet. This has been my experience on my iPhone; other devices may improve distance. Regards, Moe
  22. Well, I’ll respond to the original questions first. First, I use lithium AA batteries, so no comment on whether or not rechargeable batteries get hot. I’ve not noticed the A10 transmitters getting hot at all, nor have we had any complaints from talent in that regard. Second, when judging range around LA, one must factor in the fact that it’s a big place. Sometimes it’s great, other times it’s so-so. But that’s true of all wireless systems, regardless of brand. Having said that, after some initial tweaking, I’ve found the range (distance) to be well within my satisfaction, all things considered. For instance, just last week we were working in the LA Coliseum, with four talent running all over the stadium. We were forced to set up in the mouth of the tunnel (all who’ve shot there know this dilemma). We experienced no drop outs the entire day, despite our talent being 100 yards away at times (perhaps further). However, I’ve also filmed out in Van Nuys where 50 feet was about it. But like I said, that was true with my 2040’s as well. The point is, I’ve noticed the range to be about the same as my analog system. Sometimes better, sometimes not. Regarding antennas, I’m using the Wisycom “shark fins”. As for putting the transmitters on talent, we have had a very hot summer here, and I can report back that they often come back to us dripping wet. No issues. Take out the batteries, let everything dry out as you normally would. They’ve never stopped working yet, so I can’t say it’s not a problem that I’ve experienced. As for the recording capabilities of the A10 system, that feature is not something I can report on, since it’s still a patent dispute here in the US. I could go on and on about how great these radio mics sound, how well built they are and how well thought out the menu system is, but I’ll paraphrase what a great mixer once told me about radio mics: whatever system you end up buying is the BEST that’s made, because that’s the only way you’ll be able to justify the purchase to yourself. So, having said that, the A10’s are the BEST! Regards, Moe
  23. Daniel, I’ve been using the A10 system here in LA since they came out, having replaced my Audio Ltd. 2040’s. I couldn’t be happier. We use them with DPA 4060’s almost exclusively, although occasionally we will use Sankens in certain situations. They sound fantastic, hide easily with smooth edges, have a simple and well thought out menu, and the range is good (although not quite as good as my old analog 2040 system, but then that’s digital for you). let me know if you have any specific questions. Regards, Moe
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