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About axel

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    Hero Member
  • Birthday 09/03/1965

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  • Location
    Vienna Austria
  • Interests
    eh, location sound mixing. movies. photography. a little cooking, a little sports. some freediving too. a sip of good rum.
  • About
    location sound mixer
  • Interested in Sound for Picture

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  1. Those wind noise algorithms are truly impressive. But I guess all of it's speech recognition is built around the LOUD voice of the person carrying the unit, who is actually acting out (performing sport). No other voices close by in such a setup. Compare that to the many voices on a film set and your boom op whispering into a private line. I doubt that you would get some usable performance, even with a modified BT microphone, because I don't think you could adjust a treshold for the voice recognition.
  2. those are placeholders and don't contain any sound info
  3. Excellent!! Price was € 9,00 + VAT per piece at the local dealer here in Austria. Screw threads are metric measure here, so it is hard to find generic replacement.
  4. Advice from Austria: Stroh Rum 80% will enhance your tea in Wintertime, but terrribly stiffen your lav cables throughout all seasons. I'd never buy a used DPA from over here ;-)
  5. For some actors I use them upside down, so they poke out to the downside of the button.The above pic by Henri Rapp shows very good the principle of a B6 mount (although it might be a 6060), imagine it 180 deg reverse, to avoid the nose blow. Thanks for the pic!
  6. +1 for all experienced posters above. There is no one-4-all recipe, neither a few tried options which together will cover almost any situation. It is many variables that determine your mounting options, just to name a few here: talent's body shape costume fabrics and colors special hiding possiblities (button holes, necktie, scarf, hat/cap...) a trained eye and ear for fabrics and costume layers: how muffeld will a certain mounting option sound if one ore even two specific layers of fabric will cover the mike; which fabric layers will move and rub on each o
  7. axel

    Lectro PDR Users?

    lots of uses for PDR and SPDR, some not so conventional: Equipped with a DPA 4098 gooseneck hypercardioid and velcroed to an Alexa Mini, the PDR acts as a preamp/camera mic (Cam has line level input only, but can be fed from the PDR; the gooseneck streches out to the end of the lens. Easy TC jamming for external recording as a backup, ACs could handle it for some remote second unit guide track recording. SPDR acts as a recorder for low profile binaural stereo recordings (nowadays with DPA 6060's attached to the in-ear monitors, with moderate wind an overcover on the mic works fi
  8. it works well with commonly available shrink tube, small diameters. Pull off the cap from the capsule first ;-). And btw, if such a mic lasts for 15 years, chapeau! I love the B6 because of their mounting options in plain sight. Sure their specs are inferior to COS11 and DPA, but often the way you can mount the mic has far more impact on sound than self noise or frequency response. Lately I find myself using the DPA 6060s a lot, but even those are more than double size compared to the B6 and their visual impact does not allow for under the shirt button or plain sight.
  9. yes, you are right. but you can also use the 4 wire cup for any 2 wire hirose connection.
  10. to keep you updated: We did the shoot and the client company confirmed the FS7 accepts 25 fps TC in "locked" 50 fps mode. In this mode it also records sound on camera. There is also a variable high speed mode, where sound recording and TC input cannot be used. I asked about post workflow and they go with Premiere pro. It was days 19-21 of a docu series, they had already edited several episodes using sound from external recorders with the very same setup. Only for interviews they switched to 25 fps. I had a Tiny Lockit attached to cam and also fed them a scratch tra
  11. they have been shooting with that setup at several other occasions with different sound people every time. The camera guy says TC has worked with 50 fps but is not sure about the settings. It is unclear how they handled the post workflow or if the footage has been synced up at all so far. It is a sports doc where they want to be able to use a 50 fps slo-mo any time. Meanwhile I found, that Tentacle claims it's sync software can handle 50 fps. So maybe I'll use a Lanc logger and send the second TC output to audio channel 2 on the FS7. Slating will not be an option I guess. Anyway, I
  12. I have a shoot coming up by the end of the week, same setting, PAL land. How did you manage to get it done? Cameraman says they've been using a TC syncbox and a guidetrack to cam so far, but does not remember which TC settings they were using. I doubt, an FS7 will accept TC @50 fps at all.
  13. Bubblebees, Rycote Furry Balls or DPA Windjammers work the same. For real high wind conditions they won't suffice. If you used the 4060s for lav miking, you'd then use those furries plus one layer of clothing fabric as an additional wind breaker, which will work OK, but alter the sound to more muffling. But for ambience you need it clear and airy. Wind protection works better, if the wind breaker is moved further away from the microphone capsules. So it will be a good idea to fit the mics inside your basket then (rycote, rode...) and try to lose the furries and the dead cat around
  14. I 've worked with the YPAs when the old original DPA adaptors were still delivering very hot in gain on the Lectros. DPA changed their configuration some years ago, since then their adapters work smoothly. YPA has the right config, but the threading on the microdot side of my adapters was poorly made and with actors movements they easily lost connection. Maybe this has been fixed in the meantime, but when the new DPA 3056 came out I switched back to the originals and have not have any failure since then.
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