Fred Salles

Hi, Paul you said you found the sound between the CMC6 and CMC1 quite different. I haven't had the chance to listen to it but consider buying one (only one for now...) As I often do 2 booms with CMC6+MK41 or MK4 work on set I need good matching. Would you say that they are too different so that they won't match for 2 boom setups?

Thanks for the info about this company. Would be curious to listen to their microphones as well. Seems they've put a lot of heart in them!

Thanks Douglas. Will pass on the info. This shop seems pretty well stocked. First time I see a choice of 3 different colors for this cable available 🙂

Hello. Where to buy some Canare L-4E5C starquad cable in LA? (Bare) For a friend in Rwanda whose producer leaves from LA very soon and need to bring the cables along to Kigali (so pretty urgent) 🙂 thanks

Thanks Jim, the Tenba Roadie air case roller 21 is a direct contender for the Think tank international. It is sold as having an “indestructible layered wall construction” so that if you end up having to register it, the case will sustain the strain. big plus for them on the paper. It has slightly less space and convenience, and they don’t mention if the parts are user replaceable like Think Tank does and that I like a lot... choice choice choice.... 😉

Thank you all for the valuable inputs! These Nanuk looks nice actually I like what seems to be a flat bottom design as opposed to the bottom of the Pelicase. I wonder if they cheaper than the Peli... Henri where do you buy them since you re in Switzerland? Here the Peli Air 1535 is obviously more expensive than in USA (got a quote at 340€, which is just slightly less than what I paid for my much bigger peli air 1615...). Thanks Valentine and Chris, the Think Tank rolling bags do offer me a complete new perspective I did not think of (like no more need for extra bag). Would they be strong enough to sustain a fair amount of weight stacked on top if when packed in the car after arrival :-)?

Hi, I travel often by plane and want to get a better case to carry my mikes, recorder and all small fragile stuff that I want with me at all time. I am thinking of getting the Pelicase AIR 1535. It seems the dimensions should be accepted by most flight companies, and it has wheels! Anyone using it for that purpose? Any other suggestions welcome. Have a great new decade! Best Fred

I would recommend the Beyer DT880 pro. It is a semi open with a very good space reproduction, extremely confortable, and pretty accurate on the whole range. I prefer it over the open DT990 both for sound quality and the fact that it is not totally open so you don’t hear yourself scratching your feet but still the space reproduction has the quality of an open headphone. Basically the DT880pro got rid of what I considered flaws in the DT770 and DT990. I started working for film with the venerable DT48 😂 then switched to the sennheiser HD25 on set ever since but no way I can wear it for more than 30 continuous minutes anymore. I do sound editing for film and music, music composing and even music premix with the DT880pro, all my studio work actually.

Thanks Olle and Jez for your inputs. After wrap of the shoot I tried to get as much material i could in a very limited time, mostly wild of everyday life in rural area that could have been the same in the 50s city (man and cow pulled carts, water pit, children games and songs, nature landscape etc...) hoping post would be able to construct semi urban credible soundscapes. Jez I am from Marseille and live between Marseille, Cape town and Nairobi.

Hello, I am currently doing production sound for a indie feature set in the fifties in an African city. Obviously we struggling to avoid plane, (chinese) motorbikes, modern cars, AC fans, water pumps, amplified call for prayer, to mention only the quotidian ones... I do not think I will get a chance to record enough stereo ambient sound as I usually do because of these issues. I have a fairly number of years of experience in film but this is my first non contemporary era film. So my question is can we rely on post only to re-create ambient sounds, assembling isolated sounds, to get credible soundscapes for the diverse scenes set in town? What are the standard practices for past era film sound design? Any tips welcome. Thanks PS: no we do not have contact with post production team as they are not on board yet.

You are probably right. Sorry did not mean no offence here. I think in these days it is as important to name files correctly as in the mag days, there is so much pressure on DIT and assistant editors that they always go for the easiest way and get confused as soon as something looks wrong. They are overflowed with files and data so the clearer the better.

I hear you. So why name files at all then? As long as they are in the right day folder you could name them wtf-T03 to T120 it won’t bother the editors is that what you mean?