Paul Graff

Hi John, For film, episodics and commercials there is a somewhat standard gear package. This has been discussed at length in another thread and I'll let someone else address it here. I will say there is a bit of disagreement or at least a range of opinions when it comes to wires - 6 or 8 for episodics, 4 for film, none for commercials and Comteks - 6, 10, 20, ? and slates - one or two. Many negotiate a full package price and bring everything they have or that the producer/director could want (within reason). I will address documentaries and other unscripted projects. For me there is absolutely no standard gear package. There is a project and the needs of the project are discussed. The appropriate equipment is determined and a bid is made. This is how it is for me. I have 2, 3, 4, 8, and 12 channel mixers and 2, 12 and soon to be 8 channel recorders. I have high quality 2-channel wireless sends to 1, 2, 3, or 4 cameras or a scratch track on a Comtek or IFB. Dual or single system? Slates and sync boxes needed? Just a simple interview? Over-the-shoulder multi-track? Anyway...you get the idea. I am opposed to the idea of a "sound package" for unscripted projects. I think it is appropriate for film, episodic television, and commercials, but the needs of documentaries, sports, and reality shows vary widely and so does the gear. My $0.02, Paul

Don't have your answer, but FYI, there is a Los Angeles-based sound mixer named Peter Gray as well. Paul

I met and worked with Rich on a job in San Diego and I was very impressed. He really knows his stuff, in my opinion. Good luck out East, Rich. Paul

I'd like to refer "Mirror". I don't know his/her name, location, experience, or contact info. He/she posts on this website I frequent and has stated a willingness to not complain about last-minute call time information. That's about all I know. So who are you, "Mirror"? You're free to remain anonymous, of course, but since you're asking for work... Paul

I could not disagree more. The DB-25 has been extremely location-friendly for me... almost always in a bag. First, I could never get by with two outputs, so I have always used the DB-25 with the original Fusion (I had the second or third Fusion made, I believe) and then for last two years with Fusion 12. The DB-25 has remained connected in the bag for many dozens of airplane rides and plenty of of other daily abuse with NO failure ever. It has NEVER failed. Sits well protected in AO-4 with 45 degree custom cable from Remote Audio. I love having access to all my connectors on pigtails in the front pouch without having to wrestle with sticky TA-3s on the side of the machine. I have Hirose 10-pin with return off of the DB-25 on my F12, so no loss of use there. Search my posts for pictures. Anyway, I am used to TA-3s on all my SD machines and will live with them on the Nomad. Probably a better or at least more widely-liked solution, but they are every bit as delicate. It's funny that I disconnect all the connectors when I pack my SD mixers and recorder, but leave them plugged in on my Fusion (except lemo and power). Happy to see the Lemo TC connector go on the Nomad. These varied preferences makes me sympathize with manufacturers trying to make everybody happy! Paul

Assuming this is not a joke (a big assumption), please apprise us of this reset sequence. I am aware of the secret menu in my old Zaxcom transmitters (useful for disabling the limiter when using them to transmit from mixer to camera) but am unaware of a user-accessible reset sequence in Lectro transmitters. I am not gullible and realize I am risking appearing as such by taking Mike's post at face value, but so be it. Do tell....or not. Paul

I predict a trip to Rio Rancho is in store. I just last week sent a MM400C to Lectro that had full RF and pilot, but no audio. Not your problem, I know. IIRC the problem you are having happened to one of my MMs a few years ago and it was the phase-locked loop. Good luck. At least their turnaround is quicker than it has been for a while. Paul

I'm a fan of the CS-3e and own three of them. On a recent shoot (3 cam doc-style) one of the three suddenly had major hum any time it went near a flourescent fixture. Other two no problem and I switched to a MKH-60. I've had all 3 mics for years w no issues and one other has earlier SN than this one, so it didn't seem like an outdated RF mod could be it. Anyway, took it to Plus 24 and when Walter got back to me he said he fixed it (no charge, btw) by tightening the screws on the side of the mic which were a bit loose. So this is a good thing to know that these screws ground the mic and this problem can be easily fixed if you have it. Also, he reglued a screen which came out of a COS-11 ($37.50 labor as I still had the screen. I'm glad I didn't just do it w super glue like was going to, as they use a special glue they get from Japan. I suspect it would be easy to screw it up if had done it myself. Your call, but nice to know they can do that. I asked if there were new products for NAB (which I am unable to attend) and there are two exciting ones. One he had there and it is a headworn COS on a boom ala the Countryman E6. Very nice. Also he said there is an updated CS-1 called CS-1e with more reach and iirc more low end. I didn't check it out, but it sounds promising. That's all. Wish I could join you all at NAB. Have fun. Paul

Sounds great, Christian. Music gets a bit loud toward the end, but that's the way it goes. Thanks!

My brother sent me this link to an obit for Owsley Stanley. A fascinating read. http://www.nytimes.com/2011/03/15/us/15stanley.html?_r=1&hpw

I love his website. Truthfully one of the few I visit besides this one. Lots of good stuff. He is an inspiring guy, imo.

Finally wrapped the Foo Fighters documentary last week. A lot of "last day of shooting" on that one. (Which was great as I couldn't get enough of it!) Interspersed with much day-playing of every sort; my bread and butter of late. Prepped all day today up in Chico, CA where I am sup'ing a three-camera documentary-style reality pilot for two weeks. An inspiring and interesting show. Bought the ETS insta-snake to route the 3 IFBs out to the video village in a motor home parked outside where we are shooting. It works like a charm. Thanks for all the info on this system, Jeff. Paul

It was per a discussion with Howy at the time that I came up with these levels. I used to run them much lower, but he assured me these transmitters can run very hot. I've run as above for years and they work great (and I mix pretty hot as well). Also, be wary of clicking through the function button while you are transmitting audio as it might make noise at the receiver to do so, in my experience. PG

Hi Matt, I've had these hops for many years. I have the new one as well, but still frequently use the old ones when I need multiple hops and they work great. I posted about them many times on the RAMPS group, so I did a search there and will paste some relevant info. First, in my opinion you should disable the limiter if you are using it as a hop and limit at the mixer. Here's how: With all respect, I totally disagree. If you are using these as camera hops, you absolutely should defeat the limiter. Unless you asked Zaxcom to defeat it at the factory, it came to you turned on. I did this years ago with these transmitters and can run them much hotter and limit on the SD mixer. Also, listen at the receiver and you will find that even when the transmitter's (crude) level meter goes to its "overload" reading of flashing three LED's, the audio is still totally clean at the receiver. There is much more headroom than you might think and with excellent SD limiters you are well- protected. Anyway, here is how to do it: Turn on the TXer and quickly press menu till you get to the "LOC" page. Press the DOWN button several times quickly until the display says CNF (you only have 7 seconds to get into the menu). You are now in the super secret configuration menu. Press Menu until you see the word "ron" pop up. The number that is in this page adjusts battery tables and lock mode behaviour as well as the limiter on/off setting. See what the number is and write it down. You need to increment this number until there is a "1" in front of it. So if it says "02" you want it to say "12" this will put the Txer into "No Limiter" mode. This will be remembered when the power is turned off. In another RAMPS post I addressed the input level: I hadn't read your later posts when I responded above. The note about the limiter has credence. This took a bit of detective work to disable in the old stereoline (I posted how to once), but is straightforward in the TRX-900 w/ STA100. Old Stereoline likes a very hot mic level, around -35 dB. This was easy to achieve with SD302, but tougher with the 442. Once Trew started making the padded input cables, they were the way to go. New Zax takes line level straight up. I the audio doesn't sound like a hardline your unit is not performing correctly. So me in real time now. Assuming you have disabled the limiters and are using the padded input cables with line level out from your mixer, send tone and press function button until you are setting the left level. Set it to -6 so that if you press one more click down it would go to -12. In other words the level meters are crude and will stay stay at -6 for 3-4 clicks, so you want the "low end" of -6. Now do the same for the right side level. The gain level number might be different for each side, but that is no problem. On my transmitter these levels are around -32 to -34. I hope this helps. Paul

A new low...err, I mean a new standard; and a risky choice for that camera. Well everyone's standards are different. I was about to post an apology for being pulled off topic and not addressing your initial question. A sad conclusion. Anyway, I would do what Peter suggested. Here's to higher standards. PG

There are no easy answers. You walk away or you don't. It's always a judgement call and each job is different. As Robert mentioned we've covered this ground before. Here's a link to what I had to say in an earlier thread: http://jwsound.net/SMF/index.php?topic=6420.msg51129#msg51129 As far as half-days I agree with others as about $100 less than a full day. I usually only book half-days when it is just one or two days before the shoot and it is really just one interview. Personally, I like short days, but to each their own. Take good care of the clients who take good care of their crew. Nothing beats working for/with good people. Paul (edited for TMI)

Hi Greg, Well, you inspired me. I just took a knob off my 442 and put it on the Fusion. While the fit is perfect, the orientation is 180 degrees off due to where the flat spot on the knob spindle is on the two machines. Anyway, I am going to look into some options. I also thought about using the Deva 5 knobs, but I'm confident there is a better option out there. Could always take Johnny Marr's approach and just wrap rubber bands around the knobs. BTW, I received the check for the output cable. Thanks! PG

Hi Rado, Sounds like you're committed as a one-man crew, but there are massive compromises with this approach to scripted drama. I'm not trying to piss you off, but this is my experience. I do a ton of solo work on documentaries, doc-style reality shoots, lifestyle/corporate shoots, and, of course, interviews, but when it comes to scripted drama, a boom operator is required to do it any justice. Even a 2-person crew is barely enough. You will often wish you had a third. From keeping written (or typed) sound reports, managing media, managing Comteks, jamming slates and/or lockits, finding power, tracking down and eliminating noisemakers, moving between locations, learning dialogue, being on set and tracking all the myriad conversations that clue you in as to what is coming up, building relationships with grip and lighting, etc., etc. etc. It is a different world from reality and one person cannot do it justice. Even wireless plant mics are often tough to place and often the third is doing it while you are listening to the rehearsal and deciding where to use the boom and wires and whether the plant will work better for this line or that. Above all is is the issue of MIXING vs. merely multi-tracking and it is impossible when you are booming. You will end up mixing wires only. Or booming with one arm. I don't mean to be negative and I hope it is a great experience for you. Jan's advice is, as usual, spot on. There is a lot of nuance and feeling things out. It depends on the director, but in my experience that is someone I speak with only when there isn't a more appropriate person to direct a question to. Directors have a lot on their plate and the minutiae of our job is not at the top of the list. Anyway, have a great shoot. Hopefully their expectations are in line with what it is possible for you to do alone. As long as everyone's eyes are wide open to the necessary compromises to this approach it should go fine. Good luck! Paul

Nice idea, Cleve. There's nothing I sold that I wish I hadn't, but there is a LOT I keep meaning to getting around to selling but don't. Or haven't yet. And I wonder why. I'm trying to use that other thread as the impetus to motivate me to sell some of the stuff I don't use. I strongly agree with Glen's philosophy and used to be pretty good about selling stuff. Now I just buy the new stuff and keep the old stuff as "emergency backup". I keep the T-powered 416 because "every sound mixer should have a 416", but I haven't used it in five years! Besides, I still have a MKH-60 if I need a bulletproof Sennheiser shotgun for backup. Don't get me started on the AD261. I should've sold that years ago. This is kind of a painful subject now that I think about it! PG

Purely for booming these are a good call: http://www.rei.com/product/801672 For doc mixing in cold weather I use fingerless gloves with a flip-over mitten. Paul P.S. Congratulations Dave!! A great partnership.

It's all been said by others, and very passionately and eloquently as usual. I just want to quote from what I wrote on my website: The Right Equipment You want to hire the best mixer, and the best mixers like to work with their own gear. They know it’s set up right; they know it’s been treated right; they oversee its maintenance. In short, they know they won’t get burned. The producer gets all those benefits, too. They know the equipment has been set up by the person they are hiring, who answers to them. The mixer works with it every day and is fully invested in its performance. That's how I feel. The local rental houses here in LA are not all created equal. There are several that do a spectacular job and and are a pleasure to deal with. Depending on the type of work you do, it can be an absolute necessity to rent. For me, who works lately almost exclusively on back-to-back short-term projects and lives on the west side, relatively far from the rental houses, it would be maddening for me to rent more than very occasionally. "You'll just know." Brilliant. Paul

That's Qualcomm's FloTV and has been there at 716-722MHz here in LA for at least a couple of years (and just about everywhere else I've travelled in USA). It was recently declared a failure, but it must still be broadcasting as it still shows up on my scans. Paul

If you reread the OP's question (now two months old, btw) it is not about how to set the box; it is whether, when cross-jamming, you cross-jam the box from your recorder or cross-jam the camera from the box. I would treat the lockit box like it is the camera and set it for the camera's timecode and cross-jam the lockit box. I just now see a bunch of new replies since I started writing, so I'll stop now. PG

Hi Jeff, I've resized my photo smaller in photobucket several times and it is still the same size here, even though it is now 320 x 237 in photobucket. I notice some photos list their size below them and some do not. I do a direct link to photobucket. Is there another way? I would love to just post a photo here without having it hosted somewhere else. Please enlighten me as to my options and also why my photo is still so big even though I thought I'd made it smaller. Thanks, Paul

Thanks for the reply, Daniel. I'll keep that sleeve-mount lav in mind for a phone call in a crowd, but will likely stick with one lav per transmitter (I have no regular Goldline transmitters). PG