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Everything posted by codyman

  1. 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.
  2. 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.
  3. Well, competition is always welcomed, especially since the pro mic category doesn't exactly shake up too often.
  4. 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!
  5. 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!
  6. 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!
  7. Are you frequency coordinating all of your transmitters so that you aren't getting intermod problems?
  8. 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...
  9. 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.
  10. 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...
  11. 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.
  12. 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.
  13. 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/
  14. Yeah where did you find the figures on this? Lectro DBSM single AA NiMH at 50mw digital transmission gets 4h20m runtime on that single AA. Doesn't have all the bluetooth connectivity to remote things to it it but that is a almost twice the runtime on a 1/3rd the amount of batteries.
  15. USA pricing according to Gotham's email.
  16. Slick little unit and cool it pairs well with the Sound Devices kits. Interesting that it is priced $200/unit above Zaxcom's ZMT4 though.
  17. Not an issue, the patent from zaxcom was licensed so globally should be good?
  18. Hopefully. Vacancy rates were low single digits BEFORE the pandemic so I can only imagine what it takes to book a stage these days with the big guys booking them long term constantly. I think more and more things will be shot on stages, especially as the tech for these LED walls keep getting better and better like they use in The Mandalorian. https://www.latimes.com/entertainment-arts/business/story/2020-02-07/los-angeles-studio-soundstage-space-film-television-production
  19. codyman


    Decent turntable and I'm sure that Grado cartridge sounds nice. I had a similar albeit later model Pioneer at one point with a Grado Black series cartridge and it sounded pretty good. Here's all the schematics / transitors / maintenance for it: https://www.manualslib.com/manual/953611/Pioneer-Pl-570.html#manual Personally, I'm more a fan of belt driven, manual turntables because these Pioneers got pretty complicated with the auto start / stop / quartz lock etc and I ended up parting ways with mine once it started acting up and I picked up an Orbit U-Turn table that I use with my Marantzes / Klipsch Heresy III's. You'll get a million subjective opinions on turntables but my main approach is keep it simple!
  20. Might be best then to record LTC as audio on the cameras. Something small like a Denecke JB-1 or Tentacle could record the LTC itself into the audio channels of the iPhones/DSLRs etc and then they can sync that via Resolve in post. That being said, you'll probably lose your onboard audio since most of those cameras seem to either let you use onboard or external but not both (then again, who wants to use onboard DSLR or iPhone audio anyways?).
  21. Honestly, a good old fashioned timecode slate is your easiest solution.
  22. Sennheiser 8060 is a nice short mic (so that it doesn't poke into view on the wides) that picks up dialogue well. On a few of my docs I'll throw one on camera just in case we miss something on the proper boom / lavs.
  23. Looks neat but those wheels seem like they would only glide over pavement. Also the powering solution is PSC PowerStar priced (which is a fantastic tool) however this one doesn't cater towards the DC crowd.
  24. Countryman B3 are affordable, robust and sound good too.
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