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edward chick

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About edward chick

  • Birthday 02/10/1967

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  • Location
    Lapeer, Mi
  • About
    Twenty seven years in the biz. Exclusively sound for video for 16. Learned on Nagra. Transitioned to video and now file based recorders. Love the challenges and the people as well as the experiences. Mostly bag work for doc style commercials or corporate image, sports, live network new and package news to round it out.
  • Interested in Sound for Picture

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  1. What codyman stated would be my guess. Check your frame rates @ camera and mixer/recorder. Cables would be next to check in the chain of sync . I’ve had cables go bad during the afternoon, even though they worked fine in the morning and on several jobs before the job they crapped out on.
  2. Hi. Posting for a Producer friend/ client of mine. He is need of a sound mixer in Phoenix, Az. PM me and I will give you his contact info. Legit agency out of Detroit (Campbell Ewald) , they pay good rates and treat crew very good. Thanks, Ed
  3. I agree with Doc Sound Guy, sounds like a camera gear defect versus a sound gear issue. I don’t have or use D Taps to power my receivers. If a camera just offers Dtap option I use the battery sled on my SR series. I do use Hirose if offered and have never had an issue Sony f55, Arri Amira and the like . For sports docs having the receiver powered by camera is practically a must have. Flagging down the cameraman to change out batts during a game or hoping they last until half time is not a good option, even though they usually do.
  4. Have you checked the compatibility modes of both the transmitter and receiver?
  5. I carry my Remote Audio Hi -Qs 98 Wh in a back pack . I have them in magazine pouches designed for m4 assault rifles, they fit perfectly and keep the metal ends from getting in contact with anything while offering protection. They get some looks by TSA , but once x rayed no problems.
  6. Plus 10 to keeping your self in shape. After many years of trial and error I find that rucking and kettlebell exercises like Turkish get ups and good old fashioned body weight exercises have helped my back and core tremendously. Unhitch from the harness as often as permissible. It’s YOUR back!
  7. As the saying goes “you get what you pay for. “ I bought a Fold Up Cart from Rastorder over ten years ago.. one of the best gear investments I made.
  8. Like most posts have mentioned I'm still rocking Ipower Lithium Ion 9v purple series that are dated for in service since 2011 in my Comteks and R1a Lectrosonics and they still deliver. I am pretty much AA in the power department now for transmitters for my wireless mics. The Ipowers will run for days in the Comteks. Pretty cool.
  9. I do a quite a bit of network news multi cam interviews with takes that go for an hour or two and have always used tc boxes and a smart slate. I have never used Genlock and have never had any calls from post regarding drifting. Cameras vary from Panasonic Vaticam LT to Eva Cams, to old school style HPX 3700 series and sony fs and A7s with canon c series tossed in. Basically whatever cam the network bureau camera guy is provided and if there is a freelance cameraman on the job, he brings what he has. This has been my experience for quite a few years. Concerts are an entirely different beast, and I could see why Gen Lock would be necessary due to hours long takes.
  10. Contact Denecke .. good people, will get you back in service.
  11. Hi Jwill. Sounds like an impedance issue with camera. Just curious, are you using line level cables from your mixer to the DCHT? Also, what is your ref tone out? I use +5 out from my lectro receivers all the time @+8 db out from my 664/633. Depending on camera I sometimes have to dumb my tone level to 0 db, but most of the time I run it as described. Line level to my smqv series links is usually around 10 or 11 (no pun) where the -10 light just starts to blink. Seems to deliver a good, fat signal to noise ratio for me . Have you checked the cameras menus to maker sure that the internal limiters are off?
  12. Hi tonvogt. Not sure if this helps but when I work live shots I use a cellphone for IFB conntction to the control room/programming. I route the cellphone into my mixer then send the feed to the correspondent’s IFB via an aux out. I take it out of the main mix so it does not go over the air. The cellphone input is on it’s own track and can be recorded. I never need to do that for live tv, but it’s an option.
  13. I’ve had Cos 11s go bad at the Ta5 connector before, just sent them in to be rewired. I’ve used DPA 4060 on NHL players during games and never had one go down. COS 11s are a good workhorse some of mine are at least 10 years old. Lot’s of doc, sports, and commercial use. Pro and non pro talent.
  14. Send to Comtek. Service is quick.
  15. Actually I know sound mixers who work live tv for news networks and use Noise Assist and love it. They consider it a game changer. The A1 in Master Control likes it as well as the Director. I don’t have an 888 yet, but plan on getting one soon. I can’t wait to try NA out. I think what others have stated before me, use it on your LR out, but not the isos, and for film style shoots a conversation ahead of time with Post would be in order as to use or not.
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