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Jared Detsikas

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About Jared Detsikas

  • Rank
    Member
  • Birthday 06/09/1988

Profile Information

  • Location
    Boston
  • Interests
    Music/Drums
  • About
    Production Mixer (ENG/Reality)

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704 profile views
  1. When my 633 first arrived right out of the box the first channel wouldn't see any signal no matter what kind of input it was. Tried everything but sent it back and has been fine since. Not sure exactly what the problem was. I like to keep a backup system in my bag. For simple gigs usually just a SD mix pre-d with the correct cables to have 4 inputs and run that into the recorder that's built into the ifb200. Doesn't take up much space and cost effective. Not ideal but works great in a pinch.
  2. That's why Lectrosonics is great. A lot of times there can be shit there and it keeps on going like a tank. I'm not saying that you shouldn't do scans. If you have the time and you want to make sure you're on the cleanest channel then you should. There is no overarching protocol, every sound person has their own methods. I do a lot of reality where there is usually not time for me to do scans for every location you walk into and just start shooting, especially when I'm managing 8 talent radios, multiple camera hops and ifb channels, and multiple vid transmitters. I show up at location and do a walk test and if I get no drop outs with everything powered up within the range I need I'm happy. Also when you have a large system it's not as simple as do a scan and pick open frequencies, you then have to cross-reference those open frequencies with frequencies that all work together to prevent intermodulation issues so it often takes time that I don't have.
  3. I generally use Freqfinder with the expansion to find the best frequencies for an area I'm headed to ahead of time and then I'll do a quick test at the location to make sure everything works when I'm there. The only time I'll do scans is if I'm using SRb's instead of 411's, I'm somewhere where I know there will be other systems in use, or I'm doing something super critical. Maybe I'm lucky but running properly coordinated block 20/21/25 radios in Boston/New England I've pretty much never run into RF issues. * Scan where the receiver is since it is the receiver that is looking for your signal and needs to be as free from the clutter as can be. The transmitter is just a dumb transmitter outputting it's signal no matter what. *knock on wood
  4. Hey Rado, Does the new 8060 you just got have a serial number from after they fixed the problem even? I was going to the rental house tomorrow to go check it out… Was also gonna compare it to the CMIT as well but liked the idea of the compactness of the 8060.
  5. I also bought the full kit and while I haven't taken it out on a gig yet I am pretty disappointed with the design of the bag. I put on my Kortwich strap and found the bag leaning way too far toward me to be able to operate it. I also am using 2x SRb's in the bag and find that the elastic straps are obviously too big so they like to lean to the sides. NP1 battery sticks awkwardly out of the top if put vertically which I had to do in order to fit the BDS. Obviously everyone's situation is different and for me there are ways to fix some of these issues (velcro, hawk woods half size battery) but I can't see any excuse for the rings for the shoulder strap being so far away. I will most likely trade this in for a Kortwich bag. While I don't like the one they have up on their site currently I plan to have one custom made that is pretty similar to the Portabrace except a little bit taller, pockets on the sides for NP1s/BDS and a waist strap like the Nomad bag if anyone else is interested. Waiting on the K-tek specs though since for me it's all about the weight/healthiest option for my back. While the Portabrace is super super light, the fact that it can't be used with a shoulder strap makes it not an option for me.
  6. Maxx has no Zaxnet, Maxx does not have 8 channels, Maxx does not have any USB or serial connector to hook any external mixer or controls up....just sayin.
  7. I doubt they designed it "against" real shows... The guy who did design it came from doing ENG type stuff and built it with that purpose in mind to address problems that he's run into. It shouldn't be his company's responsibility to have to design stuff for your "top tier" work first and then fill his needs second. If it's frustrating to you that they built it this way then perhaps you should not buy it. Ambient and Zaxcom have great systems that may work for you.
  8. I upgraded my 6 to a 10 and firmware to 4.00. Since going to 4 the threshold of my card and output limiters keeps resetting to its default values every time I turn the unit back on. I've also been having a few glitches with compact flash cards when I reformat the primary it gets hung up and freezes but they've told me that might be a hardware issue.
  9. I just got a mix 8 this week and noticed the same thing. Hasn't been an issue for me yet but there's definitely a noticeable delay on fast fades. Running 4.0 on Nomad.
  10. I've been getting annoyed wearing an earpiece for walkie's under sennheiser hd25's which are already tight. Soon as I get some time off I've been planning on wiring a cable to put the walkie output into one of my Nomad's return and then using the onboard slate mic and routing that to a spare output to go back to the walkie. I've yet to need all 6 outputs or 10 inputs so it shouldn't be a problem.
  11. Has anyone else experienced interference with their original CS1? I know the CS3 had problems but I have been getting a digital sounding interference that is difficult to trace/recreate. As I move the boom around in the air it gets louder and softer or disappears. Its kind of like that digital sound you hear when you hit slate on the Nomad except more steady/less staccato. I've only noticed it since recently upgrading to the Nomad but when I try to recreate it on my own I can't get it to happen again. The other time I know I've run into problems was on a show that had pretty beefy camera transmitters but the other two times there was no apparent cause.
  12. I have also been using the CS1 but lately have been finding I need more reach and directionality. I have heard more than a few people say the Schoeps isn't the best for rejecting noise so have pretty much disqualified it as I mostly do run and gun reality. The CS3 has been looking good but heard a few reports of it not being able to tolerate extreme yelling which scares me a little. Not to throw another mic in your boat but I just recently heard the DPA4017b is super directional and pretty good sounding so I'm currently trying to get a demo of it to compare with the CS3. Can anyone else relate it to the CS3 in terms of noise rejection/sound quality?
  13. I've been using the varizoom np1 batteries which say they have an intelligent control circuit for temperature, current and voltage protection. they last me the majority of a day and go for about 160. had three but one of them began corroding. thinking it might be from all the moisture that was in the air on the last show i did out at sea or it being in my rain soaked bag one of those days. also just got the sound guys solution md6 to try but still waiting for the np cup to come in. like the smaller footprint it has.
  14. My first posting! I agree with the idea of working your way up but that is not always possible. Living in the Boston area the majority of work I've been called for has been small ENG shoots and corporate shoots where there usually isn't a boom op or a utility or even a PA. I learned a good amount from my mistakes doing the couple low budget-go no where films soon as I got out of school in addition to the several years I had done location sound in school and have been doing fine on the network shows I now do. Started out with used equipment and outgrew it and have done enough pay for the Nomad. I would have loved to (and still would love to) work under a seasoned mixer as a utility or boom op but I have yet to find that opportunity. Until discovering this forum I essentially knew no other sound mixers nor knew what the going rate was. Until reading this thread I was under the impression that $350 minus gear was an okay rate for someone who had been doing this for almost a year and that with time you would increase your rate as well. That was the rate for the first gig I worked on and so I guess you can call me ignorant for not looking more into it but after reading this I will most definitely be changing my rate and more carefully deciding what projects I take on. At the same time I do have to make sure I can pay rent, which if it comes to it, working 3 days out of the month at this half rate does that, though certainly not ideal. To me it kind of seems like a catch 22 and I don't know a way out of it. Maybe I'm not in the right circle but Boston seems like a quit city in terms of work. I still feel I could learn a lot from working with others and would even prefer it. If anyone has suggestions or anyone on here is from Boston feel free to message me. ~Jared D
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