Matthias Richter

Salsa-dancing scene with dialogue ... along with the music I had a 50Hz thumber-beat, so I could fade out the music but the extras and our actors could hold the rhythm. Best, Matthias

just got a reply from Sanken directly saying that even the improved version is not recommended for Zaxcom: Dear Matthias-san CUB-01 was improved for RFI(Radio Frequency Interference) after #111777. However I can not offer by following reason. 1. ZAXCOM recommended two wire configuration,however CUB-01 can use only three wire configuration .(CUB needs +Vcc,Signal ,Ground independently). 2. TRX-900 employ digital. Digital modulation spread much interference. Unfortunately we have not tested yet. Currently we only recommend model is COS-11D PT. 3. If you agree above situation and want to try---- Black ------ lemo pin2 White-------lemo pin3 Shield------ lemo pin1 and connector shell. Refer the pin number below website. http://www.sanken-mic.com/en/qanda/index.cfm/11.53 It will work ,sorry but we can not guarantee "perfect or not ". note) TRX-900 should after serial #1314.

you might wanna add a windsock to your kit. I was using the rainman but the direction we were looking and because the mic was slightly angled and the front of the rainman open I was missing the additional windprotection of a windjammer. Just ordered a windsock ... Matthias

Hi Billy, tried to order one of these new designed CUB from my dealer. But as Sanken only offers a version with XLR / 48V connector on it´s website and also doesn`t mention any RF-improvement I am wondering if your dealer did a modification himself? I would need (as you) a RF-improved version with a connector for Zaxcom TRX 900. Or do you use an adapter from the XLR to TRX connector? Cheers, Matthias

watch the modified Rycote ... and the Girls sitting on top of my cart.

I was watching a making of "Alice in wonderland" and they had green poles, green mic suspensions and even green mics! Also noticed the green c-stands etc. on the set. But from my green-experience as long as you keep the "real" world clear of your boom you can place it just where it belongs Matthias

my current BoomOp wears a earpiece on one ear designed for walkies where you still can hear your surroundings. Its for talkback only and I use it quite often during a take just to push the dip of the mic a little bit further in or give him a warning when he comes to close to the edge of frame. I always let the BoomOp decide wether he wants signal or just commando in his PL but I insist of the talkback. I don`t wanna come to set too often. Takes away the - ooh, we`ve got a serious sound issue - moment. Cheers, Matthias

that would be great!! one could call it phlegma I call it "never change a running system" Thanks for all you work Jeff, Best, Matthias

although Germany is part of Europe this certainly is not the method common over here. We use the Scene-number and thereafter another number for the shot (camera-angle) and then Take-number (Scene 123, shot 4, take 5 then reads: "123/4/5" on the board) The old German way is that each shot get its designated number, means: Master shot1, medCU 2, CU 3, reverse 4 and so on. That sometimes means you are starting the scene with shot 4 and do shot 1 in the end. Not very common to start with a CU and end up with a master but might happen. With that sytem you never know what the next shot number will be unless you ask your scripty. In these days we more often start with shot 1 regardless of CU, master etc. and continue to change that shot-number (2, 3, 4) when changing the shot. Editorial still knows what Scene we were doing when reading the board. Well if I think about it - it`s almost like the American sytem but with numbers instead of letters used for the shot ... Anyway now you know. Best, Matthias

what do you mean by "over/under"?

here you go: http://www.sounddevices.com/products/cl9.htm

since I got my little daughter Frida I refuse to go in a trunk. No movie I worth a father. Matthias

http://www.sennheiser.com/sennheiser/home_en.nsf/root/professional_headphones-headsets_professional-headsets_502451?Open&row=1 Sennheiser has no longer listed the Noise Guard function but did so a few days ago. However if you read the pdf manual it will show the option of an inline (need a different cable) noise guard function that will add some 18dB of SNR to the headphones attenuation of surrounding noise. Might be helpful for these noisy street locations. Matthias

you are right ... only thing that might happen: if you record your fx stereo in a given shot and nothing else (no dialogue) but dailies transfers track1 only they are listening to the left-ch only. But as the Senator says: its Murphy`s law. You can`t fight it ...

as I said I would never deliver a MS-signal. Chances are too high that someone down the line without an understanding of what that signal is will mess around with it. If you are listening to a MS-signal (M on the left speaker, S on the right speaker) it sounds very strange. So a pic-editor might get confused just by the starnge sound. Take a MS-microphone but matrix the signal to a LR (similar to a XY-signal) and record that. This signal will sound allright and if labeled as LR-stereo (based on a MS-mic) post can use your choosen stereo-width or decode and go for a different narrow / width. Matthias

it was a shame when one member decided to leave and that ment we lost all of his interesting posts. The threads remained but didn`t make any sense since some answers were build on the lost posts. It would be horrible if some or let alone all of our posts were lost. still a BIG fan of this group rather than CS ... Best, Matthias

Hi Robert, if you wanna go for a one-mic solution I would go for a MS-mic but deliver the signal ALWAYS coded to LR-signal (done in the mic, in the mixer or in the recorder). That way it is already a stereo-signal and even if summed by mistake in dailies it will be a true mono-signal (because the side-signal is cancelled out). With a xy-mic (two capsules in a certain degree to each other) you take away the option for post to manipulate how narrow or wide they would like to have the stereo-image. With a LR-signal coming from a MS-mic - although you deliver a already coded signal with a stereo image sounding to your liking - post can easily go back to the seperated Mid and Side signal just by decoding your LR signal again. They just can`t do that if you were using a true XY-microphone. Best, Matthias

I am using Zaxcom units and they are very sensitive to moisture / sweat. If your are lucky it will effect the display only but I had a unit that stopped working completely. Lucky though I opened the tx and blew very subtle with a hairdryer over the mainboard and left it open the whole night - it came back to life. But I try and avoid direct contact to actors skin since then. Matthias

the winter issue with a VERY informative article about workflow and dailies from Marc Wielage: http://www.coffeysound.com/The-Coffey-Audio-Files.html

that`s cool. So even without a Mix 12 (a Cooper instead) I could adjust the gain on my TRX very quick. One more reason to consider the Fusion when upgrading from my 744. Matthias

not in this case ...

it just applies to the situations, where I might have set the gain on the TRX a bit too low but don`t wanna touch the actor again (for costume reason, concentration on the scene - you name it) or for situations where we have just one (or no) rehearsal and then go for take. In these situations I sometimes need to push the levels on the mixers trim before using the faders (knobs). But again I certainly agree that the ability of using a remote gain trim on the TRX is a lovely new tool as one can adjust that little bit of gain after the first rehearsal without disturbing anyone. Matthias

that is true. However I (not using the ZaxNet system yet) quite often use my trim pots on the Cooper mixer when I adjusted the input gain on my TRX for some loud passages but need to bring up the dialogue level before / after that given moment it smtimes needs adjustment on the trim as the fader range will not be enough and / or I like to keep the faders around zero rather than goin max. Same applies to bag mode when I use an SD302 in front of the 744T. The 302 got both trim and fader in place. But when using both a Fusion and TRX (zax wireless) it makes sense to use the ifb remote and be able to adjust the trim on the very front of the gain structure. Matthias

maybe the AD 146 has changed over the years but I (and some fellow mixers too) had some real problems with the combination AD 146 (w/o DOut) and the SD744T. There was a serious noise floor issue when feeding the 4tracks from the 4 busses. I did one TV mini series where I needed to reduce the output level of the AD by a third to get acceptable noise floor. When shooting quiet scenes I was plugging the boom directly into the 744T. Also doing quiet room tones was not possible. But a friend of mine now is working with a 146 and 788 and got no probs. The 744T was working well in combination with a Soundcraft LM1 and currently with my Cooper 208. Just a thought ... Matthias

just got some crew photos from a shoot we`ve done in the summer this year spending 5 weeks in Cologne ... I`m looking stressed but this was due to the sunlight and the not very bright monitor. I still would love to upgrade to better monitors but they are sooo expensive ... Happy New Year to all folks here at jws! Matthias