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alidav

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About alidav

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    Hero Member

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  • Location
    italy
  • About
    Sound recordist in mainly documentaries and tv shows, Located in Italy.
  • Interested in Sound for Picture
    Yes

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  1. My question is about using plugins, I do mostly sound on a film set, and rarely I do some post-work for small projects, this helped me a lot to improve my job during the shootings. I've realized how easy it could be making a mess when cleaning up dialogues and mixing (mostly doing it at the same time). I have mixed in the past mostly music and carried with me that background. High levels, transients massive, using compressors, never issues about noises and need to clean rumbles, clothes rustle because everything was recorded in perfect situations. But when I approached audio film post everything was more complicated. I used plug ins on the single tracks and on the stems and had at the end awful sound and background noises and room tone coming out that could not hear before. this is only one example. so my question is what is a good approach when mixing and using any audio tool like denoiser or compressor and reverbs. Single tracks, on the bus where I 've routed into. Any advice and link is appreciated
  2. I have a made an A-B test between an Ek 100g2 and Ek 2000 both in range B with an SKP 2000 plug on with an Mk40 plugged. The only difference I 've noticed apart from the audio level (the g2 is unbalanced and 2000 is balanced) was a lower response on bass frequencies like a 50 Hz roll of was activated on it, but nothing so dramatic considering that I almost always use that cut generally. Honestly, since I have 1 SK 2000, 1 SKP 2000 and only 1 Ek 2000 I need just a receiver to have 2 complete systems and already own some g2s receivers i same freq range. What is your advice.
  3. I have a remote audio cable bought at trew audio, and tip is connected to the tA3 2 pin, and sleeve to the 1. So it is wired ad for mic input level on the g2-g3 trasmitter. But to feed audio to headphones wouldnt be more appropriate to be on line levels?
  4. What is the level of the background rf energy to work safely? For example I set 650 Mhz as my working frequency on my wireless mic and Rf explorer get an average rf background energy of -55 dbm, what kind of problems can happens, what should be the rf background energy level to work without risk of dropping?
  5. Hi, ive just purchased an rf Explorer but i dont see any advanced menu option to get the span view setting.
  6. Ive got a sdr nooelec used with android smartphone app. Ive Heard the app Touchstone pro would work with and sdr usb dongle but they have Never answered. The limit of the sdr dongle is the 2Mhz visualization.
  7. has anyone tested and used the rf explorer WSUB1G and compared with the ucr 411 freq scan, specially when working with bag with several wireless mics from differents blocks and frequencies range i need a a wider rf scan, from block 24 to block 29 (included some sennheiser for camera hops in range b. Does it worth the money ?
  8. I own a block 26 smqv, a block 29 um400, and a block 26 um400a, can i use the venue 2 as receiver for any of these blocks?
  9. this applies for all the devices or just for lectros? (i ve never seen the theoretical values respected on other brand also).
  10. the measurement is correct i printed with adobe illustrato, the line is 6.00 inches long (152.4 mm) and I verified with a ruler, as i told my antenna ( similar to a remote audios) with math calculation is going to be 2 centimeters longer than what lectro paper states. seems that lectrosonics antennas are shorter
  11. I think anyone of you knows this document https://www.lectrosonics.com/phocadownload/ammkit_td.pdf I am quite confused by the numbers, I need to cut antennas for a Sennheiser 2000 SMA modded in range gw (558 -626), and want to cut at perfect length corresponding at 590 Mhz, the math tells me that 300/590 is 50.08 cm:4 is 12,7 cm, but on this paper, the block 23 is 4,24" that is 10.7 cm, 2 centimeters less. almost 1 inch. why?
  12. I own a mkh40 bought when I used to work alot with orchestras, i own an MKH 30 too, used in a MS kit, (sound excellent with the 40). i am considering to sell it (or exchange with a MKH 50) because since many years i do mostly the boom op, in film - tv business. What is you feeling about it, I can't keep them both, i am wondering if anyone has experienced the 50 on big orchestras too with a 30, how it behave in music? many times in indoor location Ive felt It was crucial a better directionality, the 50 would be a better tool for me in daily job.
  13. these are 2 ek2000, the nr1 doesnt have the diversity antenna connected while the n2 has it, does anyone have any explanation of it? i want to take out the second sma i shoulg go from the hole on the pcb and grounding the sma connector on the case? the previous images are all about the g3.
  14. these are 2 ek 2000, the 2 seems to be grounded while the number 1 doesn't, can anyone explain this? to wire a second sma, I shound take out that grounded wire outside?
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