DCWester

Preferably BOTH!

Where can one watch this program? ... I'd be very interested in seeing the finished product.

I'm trying to picture this loop in my mind and a little confused... do you mean a loose knot in the mic cable? is this a way to weight down the cable from moving (anchoring)? or are you referring to letting the cable go down the chest a bit, then rerouting it back up the torso and down the back side?

Why does everything these days always come back to the iPhone???

I enjoy rocking this one from time to time... http://www.ihavefeet.com/tshirt.html

I'd say that's just an example of me doing whatever it takes to leave set pleased with my work, while not being the typical "always complaining audio guy." That being said, I took a trip to Loc Sound today and checked out the CS3-E, sounded solid. Borrowed a friend's 8060 once and it sounded premium! Again, much field testing needs to be done. I'm doing well, thanks Jason.

Thanks everyone! Much field testing needs to be done!

Very True.

Impressive. Think I'll look into renting one for my next shoot.

In my relatively few years of mixing reality TV (please don't judge me solely on that), I have mostly been using the equipment (mixer, recorder, lav, boom, etc) that the production company has rented for the shoot. My question is primarily about microphones. Usually it's been Sanken COS-11, Sonotrim/Tram, and MKH-416 in my kit, and if I've been a good boy Santa may sneak a B6 into the package. Recently, I have found myself more frequently shooting on loud busy city streets and being less than thrilled with the amount background noise. I have also seen a large number of shows (i.e. Apprentice, Bachelor...) shooting on NYC sidewalks with traffic direclty in the background and the noise level is significantly less. Can anyone suggest or recommend different lavs or booms that I can use to increase the quality of my recordings in these situations? I'd love to add some new weapons to my audio arsenal, even if I have to buy them myself just to have on hand for these instances.

In my relatively few years of mixing reality TV (please don't judge me solely on that), I have mostly been using the equipment (mixer, recorder, lav, boom, etc) that the production company has rented for the shoot. My question is primarily about microphones. Usually it's been Sanken COS-11, Sonotrim/Tram, and MKH-416 in my kit, and if I've been a good boy Santa may sneak a B6 into the package. Recently, I have found myself more frequently shooting on loud busy city streets and being less than thrilled with the amount background noise. I have also seen a large number of shows (i.e. Apprentice, Bachelor...) shooting on NYC sidewalks with traffic direclty in the background and the noise level is significantly less. Can anyone suggest or recommend different lavs or booms that I can use to increase the quality of my recordings in these situations? I'd love to add some new weapons to my audio arsenal, even if I have to buy them myself just to have on hand for these instances.

I've got blocks 20, 21, 22, 24, and 26 at my discretion. So it could be an array of them.

I find that with a Hush Lav stuffed up in a tie knot, I still get the scratchy tie noise that usually comes from the tie material and fabric weave pattern rubbing against each other. Also it really tends to give me what I feel is a throaty sound from the mic being placed too close to vibrations from the neck. I've noticed that poking the Cos-11 head just outside of the know greatly decreases and fabric noise, but once you go in for a close up.... "Hello Lav!!" Any tips on how better use the Hush Lav in a tie knot?

Copy. I'll run that by production. Thanks so much for your help.

Hey All, I'm shooting in Scotland at the end of February and I was wondering if anyone knew of any good frequency blocks that are fairly open. Using Lectro 411s and not sure what the best way to coordinate my wireless systems is. Dave