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About berniebeaudry

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    Hero Member
  • Birthday 07/25/1954

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    location sound and live broadcast A2
  • Interested in Sound for Picture

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  1. Just looked up the price for the six pack of the mounts. They come in three left hand and three right hand configurations. Its a great idea but $300 for these is much more than I expected.
  2. Never clip works at the input of the analog channel as Craig describes. Gain structure is still important as its possible to distort the output busses and/or the card tracks if the signal is too hot going to them and/or hit the compressors too hard. If they are using the input compressors and hitting them too hard that's another place distortion could be coming from. On my Nomad I don't use the input compressors at all, but do use the card and output compressors. As Craig noted it would be best to contact Zaxcom directly in tandem with the mixers on the job. Out of curiosity how do the iso levels and mix levels look? If you zoom into the waveform are the peaks squared off, or do they look normal but sound distorted? I've worked some very loud events with my Nomad recorder and I've rarely if ever had distortion occur within the device.
  3. Thanks Philip, That was my plan. If he's shooting actual 60 which I doubt, I would do 30. I'm fairly certain its NTSC. Would his camera still take a jam from me? I would assume I would want non drop code for this. Yes?
  4. I have a shoot on Friday that will be using a Panasonic camera (some flavor of eng style rig) I'm finding that the person I'm able to speak doesn't know much technically. Info is hard to come by i.e.: exactly what model the camera is. As for frame rate they told me 720/60. This is for US television so I'm thinking the 60 is actually 59.94. So if I want to jam the camera is it possible? Would I use 29.97 on my Nomad? Drop or non drop? I'll have more info on the day of, but this is a traveling group and it takes forever for them to get back to me. Thanks!
  5. I've used ERXs on Amira's and Alexas with no problem. As you say, what could it do to a camera anyway? It was a two day shoot. Did you look to see if the scratch audio from the ERX was recorded properly on the camera either of the two days? If it was fried from the time you plugged in the ERX there would be no audio on those files. I'm sure you sent tone and set levels on the camera at the beginning too. The issue would have shown up then as well. So he had no shoots that needed audio for a month? Sounds suspicious to me.
  6. I would suggest gluing/attaching it to the outside instead of the inside. That way you can stretch it taut. You may also need to think about sewing or gluing the fabric into quadrants. A single piece of fabric would need to be folded over in some spots to conform to the hemisphere of the cage. I would use a thicker/slow drying super glue type adhesive for attaching the fabric, or instead of glue, thin strips of velcro. If you do still want to go to the inside the adhesive I'm suggesting could work for that. Or again a UV cured adhesive might work as well. Here's another thought. How about just clipping the two halves together somehow instead of gluing? That way you could easily open up the cage to change capsules or add a foam windscreen.
  7. Nice! Have you tried UV cured adhesives? I don't know if they work on plastics but they look promising.
  8. Does anyone know of a Sony service center in the US that would stock parts for the Sony UTXB2X UWP series? I have a client who uses these and a few of the receivers have lost the nut on the output jack. They wiggle around and lose audio output in spite of taping them in place. It's the screw on 1/8 inch jack.
  9. Nice work Janik! Instead of panty hose may I suggest Lycra. It's available in black and is much sturdier than panty hose. A fabric store should have it in stock and its the material that is often used to make ice skating costumes. When its stretched you can see through it just like panty hose. I used to manufacturer circular Pop screens for studio mics and found it to be really transparent sounding yet hard to damage.
  10. No bag for me in those days. Both rx were as close to set as possible and cabled back to our "control area". We were recording on one inch video with ccu control of the camera.
  11. I got tired of burning thru nine volts so I built a battery pack the same size as the receiver and loaded it with C-cell batteries with the same amount of voltage. I was able to get a few days if I remember correctly. That is if I turned off between set ups. The lav of choice then was Tram. I eventually sold both of my Vega sets to a production company I worked for occasionally after getting a staff job. They were still in use a good five years later.
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