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Wyatt Tuzo

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About Wyatt Tuzo

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  • Birthday January 1

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  1. Just to go there, a Schoeps or an 8040 are a very different case than a 47. I only mention on account of the “I dare“ proclamations. The 121/122 and 57 combo is still pretty widely used on guitar cabs. For snare, I’ll use a 57 on the bottom head, but for top I like an EV 468. If that doesn’t work, a 57 to the shell and no top. I record full bands less and less then days, however, so take it with a grain.
  2. https://www.gothamsound.com/product/mrk16-multi-coupler
  3. I have to admit that I don’t really get it. I suppose the smaller size would be nice for on-camera hosts or the like. Will this be able to tune to different modes? I could see this functionality be nice for a utility wiring off at the campers. If one were able to tune talent Tx directly, and have these frequencies saved for immediate recall, it would be a nice extension of the R1a.
  4. Well then, buy or rent a second recorder when needed. I don’t understand the problem. I’m sorry you feel entitled to have it all at the lowest price-point, but this isn’t the way the world works. As far as aesthetics are concerned, I agree that the mix-pre style encoders are kind of hideous (hoping we can dial the LED’s down to inf.). I had a brief conversation with SD a few weeks ago about a product like this, but it was far too late for any hardware changes. While I may still go this route one day, I feel there are still areas where it would have benefited SD to confer with a few end-users prior to release...
  5. For something with a smooth and comfortable mid-range, and completely un-hyped, I like AKG K141 mkii. You should be able to find them used, as they are discontinued. I’ve never liked 7506’s or HD25’s for music, myself. That said, you’re likely to get as many different opinions as replies. I'm also a big fan of Grado's... he could get up to the 325's in his price range https://gradolabs.com/headphones/prestige-series/item/5-sr325e Phenomenal quality HP's with a very deep soundstage. Glorious for listening, but I'll admit I've never used them for mixing/writing.
  6. I somehow totally missed that you were originally asking about 8x, and assumed the heavy stuff. My mistake
  7. For rg8, I don’t crimp the pin. For 8x and 58, as well as 75 ohm cable, I do (but I don’t solder those). With a properly hot iron (think work station, not a 25 watt pencil iron), I can make the solder without melting the dielectric. I use flux and a well tinned tip (with kester leaded solder) to help with heat transfer and flow.
  8. I keep the center conductor nice and tight, but don’t pre-tin. Instead, coat thoroughly with flux, then slide the pin on. When you solder through the hole, the flux will help the solder flow inward, thus tinning the conductor and making solid contact with the pin.
  9. Just a note that if you DO simply wire in parallel, the batteries will equalize one another, and you will technically be drawing from both at the same time. The voltage will remain the same across each battery. This will still allow you to hot-swap (assuming you aren't close enough to total depletion that the increased current draw to the second battery isn't enough to tank it when the first is pulled). Again, this should all work fine, but it's not like you'll be drawing from one batt until its time for the backup to take over.
  10. Generally, on any show these days which isn't a major movie, I negotiate a weekly (based on $/day x5) but production pro-rates down for partial weeks. I'm not sure if that is what you're asking though. Movies pay they full week for partials
  11. I’m well aware... if you read the rest of my post, I mention making changes remotely. Gordon had requested features one may wish for in a future hardware release,m. My statement you have quoted is based on the fact that, to change frequency or gain on the wideband transmitters (the two most frequently altered settings) one must scroll through a menu (unlike the original SM’s). I preferred being able to change these settings through easy key sequences. I felt the original design was quite elegant.
  12. The only things I would re-consider over the SMWB's, would be to eliminate the need to menu dive for Freq and Gain, and to overcome what I perceive as diminished range vs. single block transmitters. Personally, I'm only interested in single battery SM style units. I suppose a nice OLED display would be welcome. Additionally, changing everything over to lemo would allow me to ditch the adaptors for my SSM style packs. The ability to control the transmitters remotely over RF would be great as well!
  13. Same report on my job. 2 frames out at completely random times. We’ve also been losing a lot of clips inexplicably. We had an instance today where the camera indicated it was recording, but the clip wasn’t present upon gate check. We’ve swapped bodies three times, and have had a Sony rep to set to look into the issues. ...still so solutions. Seems obvious to me that this cam isn’t ready for prime-time yet
  14. To me, a dry stand-up act feels un-natural. Here’s what I’ve had success with in the past: Dynamic hand-held for the comic, multiple audience mics (some directional condensers on the floor, and some omni lavs suspended from catwalks *fairly camera safe) panned and bussed to a stereo group. Apply some side-chain compression to that audience group, with the comic mic as the key input. This will compress the audience laughter a bit when the comic starts speaking again, but allows for everything to play naturally. I personally want some of the FOH blended into the hand-held all the time... it sounds right to my brain.
  15. FFS, just buy an Re20 or two and be done with it. If you don't want to buy, find a way to rent. Dynamic is going to give you far better isolation than a condenser. May be cumbersome, but you'll have to make the convenience vs. quality trade-off consideration for yourself. Don't buy and return... that's childish.
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