codyman

I use Super Stick It that I cut myself into little pieces and they stick to the back of Ursa Mini Mounts. By far the simplest and best solution I've ever found. I usually try to attach to clothes, but I've also have a lot of luck attaching it to skin too (usually also use 3M medical tape along the wire beneath the mounts to give it an extra bond to the skin when I do that though). This setup works 95+% of the time for me.

https://www.sounddevices.com/mixpre-ii-comparison-chart/

Yep, still use mine daily with boom + 5 lectro lavs. They can be had for about $2-2.5k on the used market these days and would slot well between the MixPre and 833 option. Less bells and whistles than the 833 but still a great sounding workhorse.

I'd recommend the Sound Devices MixPre series as a lower cost option, and a Sound Devices 833 as the better option. Both sound and work great.

Well, competition is always welcomed, especially since the pro mic category doesn't exactly shake up too often.

Thanks for replying, I find it always fascinating to hear about everyone's workflows and it's always fantastic to hear from people like you that are true experts at the craft. It's pretty remarkable that going from The Sopranos to Mrs. Maisel in less than 20 years and how much has advanced in terms of how we record on set these days. Comparing those two shows, both with huge casts, should be an article somewhere (695 magazine?) as like you mention the sonotrims, the value of rehearsals etc, some things have stayed the same but so much has changed over the years too. Thanks again for taking the time to reply!

We've been watching it on HBO Max streaming app which seems to be a 5.1 Dolby stream. I've got a marantz amp and Klipsch 5.1 setup going with my Heresy III as L/R mains. It's not terrible and overall the sound of the show is really good. Like you said, definitely 99% boom. My wife isn't in the industry but we have this running little joke where early on in our relationship, I'd whisper "ADR" whenever I could tell something was and over the last decade, she herself has actually become really, really good at spotting it and often beats me to the buzzer at saying "ADR!". Yes, weird little dumb game we play and she knows that it is necessary but there's definitely dubbed lines. I'd imagine in '99 this would have just been a stereo mix for broadcast and then they probably remixed for 5.1 when they went back to the 35mm negative for the HD masters / blu-ray and later streaming release. Maybe also this is just an early season 1 thing? Once again, show is great and we are hooked, just curiosity struck and I saw this thread so I was curious! EDIT: So I googled "sopranos ADR" and a bunch of discussions on a few forums like reddit pulled up. Mind you, mostly arm chair experts chatting and I didn't read much because they were talking about some later seasons too and I didn't want to see any spoilers. If you have HBO Max, S01E09 with Artie and his wife in their garden is one people keep referring too. Was it different in the original '99 broadcast? I was only 11 so my parents didn't let me watch back then!

I know this is a vintage thread but the wife and I, perpetually both being behind the times in terms of watching television series, are finally watching The Sopranos. We're on the cusp of finishing the first season and I can't help but notice the amount of ADR. I'm assuming this is just a byproduct of the fact that it was probably recorded with boom only (and maybe only wires in extreme circumstances) and onto a Nagra deck? The show is great and I'm not criticizing the sound, just curious to know what the equipment and process was at that time period for the show!

Are you frequency coordinating all of your transmitters so that you aren't getting intermod problems?

In the last 11 years, I've never been asked for gen lock a single time (then again, I don't usually do live events). In the last couple years I've been using Denecke JB-1 boxes and I've literally had zero sync issues and not a single complaint from post about timecode drops or anything of that sort. Now that I've bragged about this, I'm bound to have problems soon though...

What batteries are you using, NiMH? I've found that the Betso door is extremely picky with those for some reason. Try some alkalines or lithiums and see if that makes a difference.

Is the creepy two headed doll a sacrifice to the RF gods in hopes of having a clear scan and no drop outs every time? I've never considered helicals before for a cart setup. Seems interesting...

Still love the SM series, they are workhorses. But yes, I have a couple mothballed SMQa (dual battery, locked at 250mw, ~4 hour runtime on two NiMH AA) and on a slightly warm LA day, good gravy those suckers would attempt to make their mark literally on talent. My later SM's that I use at 50/100mw don't have these issues though.

Yeah it seems this is going after the installed rack church and music crowd but on the lower end vs the digital 6000/9000 high end touring segment. More for rock n roll hymns in a rented community center than Gaga arena tour.

Not to hijack the thread, but I wonder if Sennheiser will expand their EW-D digital series to include a portable receiver? You can get a mic pack + receiver that is roughly the A1 wideband of frequencies, has bluetooth remote control and setup, but for $599 (that's transmitter + receiver). Right now you'd have to use it in a rack on your cart but you can have 8 channels of digital wireless with remote control abilities for well under $10k. Battery life is 8+ hours too on two AA's, even with the bluetooth connectivity. https://mixdownmag.com.au/reviews/review-fender-jason-isbell-custom-telecaster/