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Josh Tucker

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  • Location
    Brooklyn, NY
  • About
    I'm a NY-based mixer, mainly working on reality and documentary productions.

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  1. Perhaps I missed it in the thread somewhere, but can anyone recommend a good CPA in NYC? I'm getting my taxes done by a pro for the first time, and could use some guidance.
  2. Title says it all. I'm looking to put together a new camera hop rig and need one more receiver.
  3. I hear ya Bernie. I figure the connector issue could be fixed with a bit of gaff. The only times that I'd be using them would be when working with smaller cams that already have questionable audio. I just need something with a good bit of range that's reliable. Ive got enough to worry about without having to wonder whether my Zaxcom system will work that day. That said, I like your idea of using the fanny packs.
  4. Hey all. I was wondering if anyone uses 100 series Lectro's as camera hops these days. I know they're a somewhat outdated bit of gear, but the specs seem legit and I could only imagine that they'd at least outperform the G2/3 systems that some of you guys are running for scratch tracks. I'm working on a couple shows that are using smaller cams, and I figure this would be a nice solution. I've been using the Zaxcom IFB100 with ERX's for the past few months but have hated them (shoddy range, weird noises and tones, easily broken, etc.). Now I'm looking to get something that actually works! What do you think?
  5. "...not charge less than 10/hr for labor..." = I'd sure as f##k hope not. I don't think you need to form a "guild" to prevent common sense professionals from taking rates like this. But then again, a wise man once said "when reaching for the stars, always reach for the lowest one". (sarcasm) Regarding having folks join the union: being union doesn't guarantee jobs. On top of that, there aren't enough jobs union or non, that exist to employ all of the "mixers" that are flooding the market right now. On top of THAT, there are plenty of union folks who take relatively low paying non-union jobs on the side.
  6. Sweet pics! I had a ton of fun. It was great meeting everyone. Also nice to hear about all the different stuff that people are working on. Truly a diverse and talented bunch.
  7. Unless my schedule changes drastically in the next week, I'll definitely be there. Cheers!
  8. This is similar to my idea to make a reality show about reality show crews. Ha. It's the final frontier!
  9. I'm also running blk 19 SRa's (with antennas, no distro system) right next to the 788 in my bag. Never had a problem with it.
  10. This reminded me of something I read in Sound On Sound a while back. I went ahead and googled it. Thought y'all might find it interesting. I'm guessing that the shotgun they're referring to is a 416 "Jack Douglas, engineer for many of Aerosmith's most successful albums, has also mentioned that he often combined close and ambient mics for Steven Tyler's vocals. Unusually, though, he used a Shure SM57 dynamic up close and a heavily compressed Sennheiser shotgun mic about five feet away." Regarding durability, the SM's are pretty good, but not the tanks that most make them out to be. I've definitely gone through quite a few in my FOH days. Your mention of ATDI reminded me of a Converge show I saw recently (any metal heads out there?). The singer went through at least 2 mics and a couple cables, after repeatedly thrashing them against the stage and throwing them into the crowd.
  11. I find that there are two places that I can always count on to make me feel better; the gym and the bar. I picked up a few personal training sessions last year to try and alleviate some back issues that had come up during a reality gig. I've found that just a couple hours a week at the gym, doing shoulder and back exercises, has made it a lot easier and more comfortable to do long days with a bag rig. It also makes me feel a whole lot better about the crappy food that I'm occasionally forced to eat on set.
  12. Thanks Phil. Your wisdom is much appreciated. I'll certainly keep your words in mind the next time I run into a tough situation like this. Cheers.
  13. I feel like I may have misrepresented myself here. To clarify, I'm not primarily a boom op. I'm not trying to work my way up or usurp the mixer on this gig. I generally work as a mixer, and was basing my critique of the mixer in question on what I felt I, and most of the other mixers that I've worked with/learned from, would have done in the given situation. I'm not "making fun" of him, or trying to "back stab" anyone. The fact is that the guy took on a job that was well beyond his abilities, and found himself in over his head. It's one thing to discuss who's responsibility it is to mic talent, jam code, scan receivers, etc. It's another thing to work with a mixer who doesn't know how to perform any of those tasks.
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