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    Los Angeles
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    ADR Mixer in Los Angeles
  1. Hello everyone, This is a long shot, but here goes: I'm interested in doing an apprenticeship with one of the many professionals on here for a few days or so on set sound, specifically using wireless lavs and equipment and the workflow from recording through to turning over files to editorial. Ideally this would be on a real gig and hopefully this would work on nothing too high-strung. I have worked in a music studio / post production facility for my entire career now (11 years), and we're expanding with two large sound stages that I'm going to have to be knowledgable in the areas of using lavs and with set sound work flow, etc., and I'd like to learn from you! I'm no greenie, but definitely not seasoned on set. If you're willing to take me under your wing, I'll show up and assist you for the whole day or two, free of charge. I'm in the LA area. I'm not looking for credits or anything like that - just learning the ropes on how to do this gig in real life scenarios. I don't really like blabbing my credit list so I'll go over that once you've contacted me - but includes ADR Mixer for a few feature films, numerous albums and what not... If we work it out, I could possibly bring some mics I own to facilitate - such as a pair of 416s, almost every type of Schoeps, COS-11s, Countrymans, TRAMs, you name it I've probably got it. Thanks in advance, and I look forward to helping you out and learning in the process.
  2. Another thing wrong is who would boom someone with an astronaut glass helmet on...? Good timing with Gravity...
  3. I like the fact that a new word has been coined: senatorized. Hah!
  4. Thanks, Marc. Great point, and yeah it's on inflated wheels. Do you ever do seminars? if you do, sign me up.
  5. Thanks, afewmoreyears. Appreciate it!
  6. Hello everyone! I'm back with a few questions about sound carts specifically on sound stages. First off, I am setting up a sound stage cart and I would like to find out and see how other professionals take care of their carts and where they stow them in the stage, how often they do maintenance, etc. etc. So, would any of you be able to help me out and give a brief description of your cart and where you store it and if there are particulars to look out for like how you air-tight enclose it while construction is going on in the stage for a new set, etc. ? I'm looking for specifically where you stow it after shoots, Do you have a climate controlled space? Do you lid it up and tarp it between shoots? How often to you clean and run maintenance checks? Do you have a cart that specifically stays indoors and another one you take outdoors? Thanks! I look forward to your answers!
  7. After doing a show in Canada in the freezing cold and snow, I wanted to find out what the best and easiest way to waterproof an XLR connection is, between two cables. I had 4 PA towers, and that's a lot of XLR breakouts of snakes, as well as 200 foot runs with 2 100' XLR cables that are connected where there was snow and melted snow. Also, it was about -10C when I was setting up, so using e-tape and plastic bags was a time-wasting activity, not to mention annoying because I was wearing snowboard gloves and I had to take them off to peel the e-tape with my fingernail every time I had a new one to do... So, is there a simple way to waterproof 2 XLR connectors? I've been searching and searching, and there isn't really a commercially available product specifically made for XLR connectors, so I've been searching deeper into things I can repurpose for this job - such as bicycle handlebar grips... garden hose couplers... etc. etc. etc. What have you guys done that waterproofs your connections quickly and something you can hopefully do with heavy warm gloves on? Some of the shows I'll be doing in Russia, Canada, Europe... all outdoors and VERY cold... I've looked at Saran wrap, but I'm a little weary of it because of the pollution aspect of it... Thanks in advance!!!
  8. @Senator and Philip - thanks. I searched Marker and didn't really find exactly what I'm looking for so I'm in touch with some custom electronics companies here in LA (Burbank). I think that's the best route because it is a pretty wacky specialist item I need. I just need to find some really nice, sexy knobs to install with it! I really like the Coleman switches and knobs. What's your guys' favorite types of knobs and switches?
  9. Searched for it.. Couldn't find one that would make sense? Or be able to be compact enough? I am basically looking for this: A 2 to 3 RU box (1RU if possible) which has 2 sides of inputs: Left side is "A", which has 4 sets of 8-channel DB-25 connectors on the back that I can plug in A) 8 podium channels, 8 ambience mics, C) 8 broadcast truck feeds, D) open DB-25 that is open for expansion. One rotary switch switches between the 4 banks of 8, and another rotary switch switches between channels 1+2, 3+4, 5+6, 7+8. Then, there is a 3-position switch that switches the headphones to be either L (left channel only in both headphones), Stereo (both channels in stereo), and R (right side in both headphones). The right side is "B", which has the recording device inputs. One rotary switch switches between Pro Tools and JoeCo, possibly another rotary switch that can switch between 8 tracks like side A has. Also has a L, stereo and R switch as above. And, 2 buttons in the center labelled "A", and "B", and when I press B it listens to the whichever recorder and channel I have selected, and when I press A, it cuts the B side and switches to the A side - whatever I have selected. This way I can listen to any source before it hits the A/D converters, and then post converters (out of Pro Tools or JoeCo). Hope that makes sense! What routing switcher do you mean? I can't really zero in a search that finds what I think you're talking about - sorry! I attached a little drawing I did of how I want it to look - hope it helps. Ignore the lines going upwards - I put explanations for the tech in little boxes above and didn't want to bore you with them. The two circles on the far left is the TRS headphone jack and volume knob.
  10. I don't think it's been only the last couple of years... The studios I've worked in have bashed the quality of newscasts for as long as I can remember. I even have presets on my compressors and filters and convolution reverbs to mash audio up to mimic the news when I mix films But I do think it's a generality to say "all news audio sucks". I have worked with and seen news that has exceptional quality as stated above.
  11. Hey guys, Wow! Thanks for the many responses! I was waiting to be notified by e-mail if I got a response and I thought I had it set up correctly to do that but I just now saw these on a hunch - I knew you guys wouldn't let me down! Ok so those suggestions are great. Unfortunately I did some more work-out and I'd need a lot more inputs: Here is how it breaks down: On the headphone switcher: 2 Pro Tools (channels 1 and 2 on the DB25 breakout) 2 JoeCo outs (probably connected from the TRS headphone jack on the back of the unit) 8 channels of ambience mics (off of the DB25 breakout of an Aphex 1788A aux out) 4 channels of podium preamp outs 2 channels of podium limiter outs 2 channels of podium "low" outs 8 channels of feeds from the broadcast truck which adds up to a grand total of 28 inputs of switching. Think it's still possible? I suppose the only way would be a DIY rig since I can't seem to find something like this in existence except buying a huge mixboard to carry around with me,
  12. Hello again, everyone. I'm writing you in a last attempt to decide upon a method of monitoring for my new rig I am putting together. Your assistance will be greatly appreciated because I honestly have been a pampered studio rat almost my entire career and I'm now being thrown into the deep-end of live audio.. I record award shows which sometimes have musical entertainment. Mostly it's podium, but sometimes there can be up to 24 tracks of misc. audio tracks I need to record. My basic rig I am putting together is a few 192 I/Os, Sync I/O, thunderbolt/PCIe converter into a laptop. As a backup, I am purchasing a JoeCo blackbox recorder. I have worked out my rack to be about 16 RU high, and now I need a good monitoring system that utilizes only 1 headphone plug - i.e. I don't want to go plugging my headphones around in the back of the rack to monitor the main recording as opposed to the backup, and I'd also like to possibly have a pre-Pro Tools feed as well to A-B the recording with. I am looking for an extremely compact headphone monitoring system where I can plug in many sources and monitor them easily by switching a turn-dial or something similar. Ideally it would be 1 RU... Have any of you had a similar problem to mine? How did you go about solving it?
  13. Cool How does the 16-35mm L compare to the 10-22mm EFS? I just bought the 10-22mm for $725..
  14. A-men to that. Here's a few from my recent production-mixing trip to Mexico: And Sydney, late 2011:
  15. Nice!!!! What do you think of the 85 f/1.8? I'm thinking of buying that one next.. @Bondelev That's great!
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