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About Cujo

  • Birthday 04/24/1968

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  • Location
    Atlanta, Ga.USA
  • Interests
    Riding my motorcycle, road racing, friends, family, camping, bow-hunting, target archery.
  • About
    I've been doing FOH sound for what seems like a lifetime.Grew up with live music and a band, and have just kept going.
    I've held a lifetime of jobs, from construction, to being self employed.
    I'm totally hooked on location sound and am following the dream...

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  1. "Best" is a very subjective measure, but I can tell you what I am using with fantastic results.... The Lectrosonics DPR plug on is pretty phenomenal. FULL DISCLOSURE -- I have been Beta Testing the DPR for several months -- I'm not paid by Lectro, and I have the freedom to post my real world opinions and results. I don't get to keep the gear, and if I want it I have to send back the betya unit and buy my own at full retail.. so there ya go.. I have plugged it in and listened (side by side A/B style) with the A10 (analog) and a direct copper XLR line into the board. I then had a couple of friends who are known to have very good ears, be highly attuned to quality gear, and who will give a no nonsense answer, come and spend a day listening to the rig. (Chris Harris and Scott Beatty) Both of these guys are well used to the Lectro brand, but use different gear on their own rigs -- Scott uses Zaxcom, Chris uses the A10 on his boom. The universal consensus was that the DPR, the A10, and the hardline were indistinguishable in anything short of a test lab setting. We did not have the chance to listen to a Zax comparison. Tests were done with music at high and low volume, normal speaking volumes, loud speaking volumes, yelling, and ambient noise. No lab settings, just a Midas M32r console, a DPR with D2 and Dante, an A10 TX/RX in analog mode, and a hardline plugged directly into the Midas preamps. Mics were DPA 4017 and 4018, both plugged into the B preamp. also a set of MKH 50's. The only oddball item was for the A10. We used the provided cable from the mixer that we borrowed the rig from, which has been modified to deal with unwanted RF noise. Overall impressions were that the DPR has what could be called a zero noise floor. I didn't put a meter on it, so you people who are lab rats, please don't kill me just yet. We just used our ears and the meters and went to work. Because well...the ears tell the tale. and it's dead feckn' quiet.... Dead. Feckn' Quiet. With the DPR I can adjust my overall gain structure lower because there is no discernible STN to overcome, and that results in what is effectively a higher useable dynamic range. Ranges from a whisper to a scream could be dialed in at a perfectly useable level without having to frantically reach for a fader or gain pot. Audio quality is as pristine as anyone would expect from Lectro, and the digital signal is solid as a rock. Range is as good as one would expect with any Lectro gear and is on par with the hybrid HMa - The significant part is that DPR runs at 50mw Digital and the HMa runs at 100mw Hybrid Now -- on the set -- This is where it really matters. I have used the DPR on 3 commercials, a movie, 2 tv shows, and several docu-style corporate gigs (yes, even during covid) The DPR has been as perfect as any piece of Lectro gear I have ever owned. Battery life is a solid 6.5 hrs with AA Lithium, signal stability is as it should be, durability is good enough to hit a concrete floor without damage, and the sonic quality is pristine. I don't know if it is the one for you ... but I'll say that you owe it to yourself to take a test drive. Hope this helps -- Cujo
  2. Checking the JW Sound Forums between setups Also -- VERY nice machine work. Looks great.
  3. I suffered the same issue for several months. Other fails would include the unit locking up and/or going into update mode. Lots of messing about, replacing aux usb power cables, etc, etc. -- Nothing worked. I replaced the USB cable from the 688 to the CL12 and the problem is solved. No more need for the aux power input, no more weird errors, no more shutdowns or lock-ups. I suggest replacing the factory USB cable with a good quality cable first, and seeing what shakes loose.
  4. My vote is for an error in wiring. .
  5. Thanks !!! - Updated and experimenting now - FWIW, I like it so far. Way faster to change freqs, especially with the 25 step turned off. Good update mate !
  6. I have a pair of ipad mounts from Charger City. --- This one specifically -- I bought them from Amazon on the suggestion of Whit Norris and others. They have survived daily use on the cart for 2 years with zero fails or malfunctions. Joints are still tight, knuckles are still solid, and the unit works flawlessly. http://www.chargercity.com/Heavy-Duty-4-WAY-Multi-Adjustable-Joint-Aluminum-Alloy-Microphone-Muisc-PoleBar-Clamp-Mount-c-4211-p-732.html I feel sure they must make the same for iPad mini. All of that said, I have no idea on availability in the UK, but there seems no logical reason why not.
  7. I just want to know how the Dante is going to work. What will be the total track count with Dante, how many will be Dante In/out, and how many will be something else, and what else they will be. Also, will there be trim adjustments with Dante or will Dante kill the trims as in the Cantar?
  8. I've had no trouble with them moving under their own volition on my mics (I have 2) - But then again, I handle them with noted caution. Not that I'm suggesting that you are man-handling them, just that I am careful. They are expensive AF and took me a long time to afford.
  9. It's not a direct answer to Tri-Level, but I just finished 3+ weeks of shooting with 4 cameras running 20-30(or more) minute takes. Tentacle attached to each camera and everything jammed once in the am, again at lunch. Post checked in with me at least twice per day and they advised sub frame accuracy across 2 recorders, 3 slates, and 4 cameras for the entire duration of the gig. Post is well pleased.
  10. I love my 688, but yes the external Mic option is terrible IMHO. I am using the standard 7506 with Shure mic and have tested it with other mics to diagnose. The slate Mic has plenty of gain, but comms are so soft that I have to speak very loudly with the Mic right at my lips for the boom op to have a prayer of hearing me. I have tried with and without the CL-12 and with other mics to verify results. Best I can figure is something in the machine. I called and requested a workaround and was assured that my request would get passed along..... We shall see. Sent from my HTCONE using Tapatalk
  11. Active shooter scenarios can be best dealt with by offering copious amounts of suppressing return fire, followed by highly prejudiced apprehension.
  12. Not in any particular order, but the following tidbits may help for some poor sap in my chair later on. And this is a bit of a follow up for you fine people who tried to help me wade through this. I was sent a particular problem file and -- on my lap top -- it did distort on the higher parts of the dialogue. Not a valid test really, and laptop speakers are notoriously bad, but it is a note. I didn't try to play it anywhere else. All the grownups including Director and EP were provided dailies from DIT each day for the run of the show. DIT used my mix track as the audio for dailies. Not one single complaint. In fact, good comments were happily received by me from them on a recurring basis. On each and every sound roll I did a verbal headslate and included no less than 30 seconds of tone at -20 as the first track. Also included in this was a description of what the tone was, the machine used, and specs used. Whether they used this reference tone is unknown. I have received no further comment or question from edit, and they didn't fire me, so either the system/workflow got sorted or they have binned the whole lot. I'm betting on the former. Thanks everyone for all you did to help -
  13. To date, I've been abundantly professional, tactful, and diplomatic in helping edit to find the source of the problem. Sadly, the "I've never had this problem before....grrrrr!" came today. So - What I've done now is explain - without aiming blame to any person, place, or process - that the issue lies somewhere in the file transfer/transcoding process. I just don't know what else I can do here. I'm trying desperately to help and be nice, but it seems to be failing. The response I got was that I should be taking the files from my Deva, using WaveAgent to check my files, then send them to DIT where they should again be checked with WaveAgent, then run through FCP7 to check compatibility before the DIT transcodes them with DaVinci....... Yes -- I asked for a workflow test 5 weeks ago. Yes --- my request was ignored. SMH ..........
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