Jump to content


  • Posts

  • Joined

  • Last visited

About MCooper

  • Birthday February 23

Contact Methods

  • Website URL

Profile Information

  • Location
    Los Angeles
  • About
    I'm a sound mixer from Los Angeles. Currently I work in both reality/ENG productions as well as studio multi-camera shows.
  • Interested in Sound for Picture

Recent Profile Visitors

1,697 profile views
  1. You could definitely be right. Or the lavs could be cardioids and or/ the broadcast mixer clamped down on the cedar pretty hard.
  2. My suspicion is that the FOH mixer only had his lav in the PA for the moments that Drumpf moves in close and eats the podium mic. Thus he doesn't hear himself in the room with the same proximity that he would expect. And it's probably set up for that exact reason. To protect from plosives/blowing out the mic.
  3. Interestingly (a bit of an aside), I heard in an interview with TV production mixer Ed Greene that at one time (in the 70's) he used a pair of near-coincident mics on a single Fisher boom in between host and guest for a talk show. The idea was that he could have both mics up in the mix yet have minimal phasing. Clever idea in the days before lavs!
  4. These items were stolen from 2100 Beachwood Drive in Hollywood between 8pm and 9pm last night, 9/24/15: -Sennheiser MKH 60 - serial # 12410 -MZW 60-1 windshield -MZS 20-1 mount -K-Tek K102CCR - no serial # Microphone, blimp, and mount were all attached to the pole. Please keep eyes and ears out! ! If anyone has any info please contact: (310) 625-3566 mrcsound@gmail.com Thank you!
  5. I worked for a TV production company for 4 years that did a wide variety of syndicated shows that would air on network television, and I can attest to the fact that 100% of our content did not go through a post mixer. It went straight from my mix on set (or in the broadcast truck) to FCP editors and out to the stations. And even in my broadcast work now at a legitimate sports network, I still often see ENG content sent to us from the editors that have mics split on CH. 1 and 2. (Lav isos, as opposed to a mix) and we are forced to mono out the signal.
  6. Great stuff, Glen. And as good as this recording sounded then, I'd love to know what the exact setup would sound like now, with the quality of digital audio. Pretty remarkable, I'm sure.
  7. Wow, Mike, thanks for the info. That period is so interesting, specifically the part about producing color TV for the US before it was available in England. Sent from my iPhone using Tapatalk
  8. Wow, thanks guys. Great photo. It's amazing to think about how much more complex the setup would probably be today, and how many variables there would be to make it sound as good as this.
  9. So I've always been fascinated by the history of sound recording, especially when it comes to early television. I know there have been some pretty interesting threads before regarding old techniques. But I am often surprised by the quality of recordings done even in early 60's. Take this clip for example, from the Andy Williams show in 1966. As far as I can tell, the dialogue and singing does not sound pre-recorded/lip-synced. How was this recorded? Just with one overhead (Fisher) boom mic? What kind of pattern? And a ton of reverb? If the orchestra was live, how was it recorded as well? Nothing ever seems off-axis. Maybe the frequency response is not as good as today, but nevertheless it is quite impressive. If anyone has any insight I'm very curious about how shows like this were made.
  10. Thanks, Philip. Do you think it would be better to place the mics on stands on each side of the stage, or (if venue willing) mount them on the ceiling grid on the inner (or outer) sides of the speakers? I do not believe it will be important to pick out specific people in the crowd.
  11. Oh, I suppose I should add that this is an audio-only recording. No cameras, as far as I know.
  12. So I've got a live recording gig coming up - a radio play, ala Prairie Home Companion, and I wanted your advice on the type, amount, and placement of audience microphones. I have access to a couple 416's, but there may also be a possibility to rent additional mics. The PA is hanging above the stage. What would be the best way to capture the audience in this small venue? Check out the attached picture. Thanks!
  13. From: http://www.broadcastingcable.com/thewire/peter-pan-live-soars-dpa-microphones/136511 Peter Pan Live! Soars with DPA Microphones Company outfits entire cast of the NBC production with d:screet™ 4061 Miniature Mics 12/18/2014 03:58:49 PM NEW YORK, DECEMBER 18, 2014 – Peter Pan Live!, NBC’s live primetime television production of the classic Broadway musical, aired last week with audio support from Firehouse Productions and DPA Microphones. The live TV ‘film,’ which followed the success of the network’s 2013 depiction of the Sound of Music, raked in over nine million viewers. With a live show of this magnitude, Firehouse needed an audio solution that would provide pristine audio quality expected with HD television while still giving audiences the feel of a grand theater production. To accomplish this, the sound reinforcement company called on 48d:screet™ 4061 Miniature Microphones to support the entire cast, which included Christopher Walken as Captain Hook and Allison Williams as Peter Pan. With each lead and principal actor double-miked, and a single mic on each member of the ensemble, DPA’s d:screet 4061 was the exclusive microphone used for the production. Having gained familiarity with the DPA d:screet 4061s from years of Tony Awards productions, Mark Dittmar, audio producer for Peter Pan Live! and lead design and integration engineer for Firehouse Productions, credited both the sound and the size of the mics for highlighting the show’s top level performers. “DPA d:screet 4061s have become our premier high-end microphone,” says Dittmar. “We used them on the Sound of Music last year, which was the first big NBC live musical, and even knowing where the microphones are hidden, you cannot see a single one. It’s the combination of size and sound quality that makes the d:screet 4061 the perfect choice for this application; it was the same thing this year. Most of the cast members were wearing two microphones, so we were even able to hide two on one person. From my experience, the sound quality of the microphones is spectacular and that is especially evident when miking an actor who has a very dynamic vocal range.” Since the production was not filmed in front of a live audience, the audio team also had no PA system to hide behind when it came to hiding background noises. “Literally every single sound on the set is audible and some microphones are so sensitive that you even get noise from their wires,” continues Dittmar. “The DPA mics don’t have this obstruction. The sensitivity of the noise is like nothing else I’ve ever dealt with. The microphone works very nicely for us in that it’s not adding anything unwanted. What’s more, they are a very popular Broadway microphone. We have a whole team of A2s that had to mic the cast and the d:screet is absolutely a top choice for them.” A live telecast of the beloved J. M. Barrie book, Peter Pan, the production featured an all-star lineup, which not only includes Williams and Walken as the leads, but also Minnie Driver as both the narrator and the adult version of the character Wendy Darling, and Christian Borle in dual roles as Mr. Smee and George Darling. The show aired Live on NBC on Thursday, December 4 at 8 p.m. Eastern, from Grumman Studios in Bethpage, New York. Peter Pan Live! is now available on DVD and as a DVD+CD Soundtrack Gift Set, which includes "The Making of Peter Pan Live!,” a unique opportunity for fans to have an inside look at the creation of the musical event. A 25-year veteran of the industry, Dittmar has been with Firehouse Productions for the last 14 years. During this time, Dittmar has had the benefit of working on several high-profile productions, including the MTV Video Music Awards, the Rock & Roll Hall of Fame Induction Ceremonies and the Concert of Valor, among others.
  14. So there was a separate music truck just to play back the pre-recorded tracks? Hopefully there will be an article or interview of some kind on the technical details of the show.
  15. Whoops, here's the one: http://www.bhphotovideo.com/c/product/558908-REG/Blackmagic_Design_CONVMASA_Mini_Converter_SDI_to.html
  • Create New...