Brian

Hey guys, I recently purchased 2 UFM 230's for my venue. By accident they sent me the L (Trew Audio Toronto) which by definition is lowband. 480 to 26 rather thatn 21-29. I still have some 29 gear that I run.. so. Anyway, I tried the setup and the 29's come thru perfect? How is that? I have a friends 21-29 UFM 230 here just in case but the testing went well. Is there a reason I can still receive block 29 when the UFM technically does not let those frequencies pass thru? Anyone with USEFULL info please chime in B

We'll see how fast they drive.. not pro drivers at all . They will be interviewed in the car by the director. I purchased some bumble bee covers for the sanken cub-1's. I'm going to run some tests myself in my car and van just to see how to get the best results.

All great suggestions and I have all those mics except the DPA's. Great feedback by all, just what i was looking for. I'm going to speak with the DP/Director in the next couple of days. As we all know it's nice to have a plan A,B and C. I've pretty much have done everything mentioned so we'll see. Thanks for all your help. Always much appreciated.

I understand Philip, he's trying to help me keep an open mind.

Thanks a few more years.. I think

Where was the MKH 50 positioned Chris?

Hey everyone, I have a commercial spot coming up where their is a possibility that I have to capture audio in a car that is traveling thru an obstacle course. The windows will be open. 2 cameras. don't know the frames yet. I suspect they may do a closeup on the driver and a two shot. I will wire the talent for sure but you know how it goes with seat belts and wind. I would like to put mics in the visors if I can. Might be a cub. Trying to stay away with lavs in the visors because they usually don't sound very good. Easier to hide for sure and I have adequate wind protection. The Cub-01 I can get wind protection for also but I may have to wire 3 cars so that would be 6 in total if I wire both passenger and driver side, and that's if the shot allows it. other useful suggestions would be appreciated. Thank you B

Thanks guys. I never had issues but the owner of the camera said he updated the software and all of us went.. Yup. It was most likely the culprit. Thanks for all your feedback. I had a timecode slate so we slated and that was that. Have a great Friday everyone. B

Hey all, First for everything but I ran into a situation a few weeks ago where for the life of me could not jam the Red Epic. We tried two different sync boxes and two different cables. One of the cables was the 3 coloured BNC deal (yes we used the yellow one for timecode sync) and one was made by a reputable company that deals with Location Audio Products. Nothing. No green light on the TC . Someone else been running into this? The guy who owned the camera just shrugged and said he had just updated the software.. B

I'll post pics when I get a chance Fieldmixer.

Not what i expected at all. I own an X-1 and I love it but it has some drawbacks. I would love to see this in person. That makes all the difference. Listening to it would certainly be interesting to match it up to my X1. i love the cantar for the total package: meaning that you have pre's and faders right at your fingertips. we'll see. That big screen looks hungry for power...

Thanks Jan, Hiro for the info. Jan that was my thinking. The Sanyo's for some reason don't have that cranking power to start it up. I'll send a message to zaxcom and get something official. I used it as a wireless boom and it was fantastic. Few weird thing happened with it later on in the day. Some weird ticking happened but went away, then other small noises. I want to sort it out because I would love this to become my primary wireless boom. If I don't have to buy the 742 then it would be money I could spend elswhere. anyone using this rig for wireless boom with success? Trx900aa with UMP 2 supply. Powering CMIT 5U

Ahh studio pro. fuck off. your a loser. Don't reply to my posts. Ya that's right, your stupid. I already asked you nicely on a private message a while back. so now really, fuck off. B

Hey Everyone, I was experimenting today with a fellow sound mixer here using a trx900aa with a UMP 2 power supply on 48v setting. Everything has sounded great so far. i seem not to have the issue of the "hissing" Now I put in Imedion 2400mah rechargeables with not problem. Did a battery test and the unit stayed powered for 5.5 hours. Now I wanted to try it again with my newer Sanyo (eneloop)2400 hah batteries. The unit would not power up for the life of me.Tried older white eneloop and was fine again. Switched back to the Imedions again and fine. Soon as I use the Sanyo's wich work in all other gear such as slates and lectrosonics SMQV, Nothing. Someone had a similar experience? All feedback would be appreciated. B

Get both, it's nice to have it on those days. I always kicked myself when I came to set not prepared for the big winds. Just used it last week and was very very impressed. Get both.

FYI, The Alexa sprayes a lot of noise... For instance I used to put a comtek on there for mono guide track. I got all kinds of hits and noise. Annoying for the guy listening to it so I don't anymore. Waste of time. I would try a Sennheiser G3 Maybe. Higher cost but might be noise free. b

Hey everyone, I'm in Toronto and I want to know where the best place to buy a blank patchbay. Also want to by those Neutrik connectors that mount on them. Anyone in the area can feed me some info? Brian

I got the smart view duo and wow. I like them a lot. I ran them of the wallwart because I had no time to get a cable made to power of my DC distro. Making changes to the cart so I'll see what happens when I start running them of of DC. Thanks for all the feedback, I really appreciate it. B

Did you read the my initial post? Are you so lonely that you troll this site just to say you said something. Please don't post here unless you have a positive contribution to the thread. "Any experiences would be great. I am stressing please that we stick to the topic. Yes it's been discussed before so if you have nothing good to say, please refrain from saying it at all" Thank you.

Am I looking at this? My video monitors have one yellow input on RCA.

I find that some of the others mixers I visit on set have a bad signal when they broadcast. I would hate it. I have exisiting sd monitors that I love and are very compact. They actually are care monitors so they fold away very nicely. I might bite the bullet and get a redbyte or ask production to include a downconverter with the package. Either way I know cable can be a hasle but not getting picture or gettting fuzzy picture to me is out of the question. Thank you Robert. I always enjoy your feedback. B

Hi all, I really would like some advice from the group here. I am starting to do more second unit/splinter unit work in the union. I have some cheap SD monitors that have served me very well in commercials. We always have video to send me SD in comercials but now that I am doing second unit and Splinter units with the union, they never have a guy giving me a feed. They never broadcast either. I wonder what you guys are using. I have a budget to spend but I am tied between getting new monitors and carrying around coaxial cable, or getting down converters and running cat 5? Any experiences would be great. I am stressing please that we stick to the topic. Yes it's been discussed before so if you have nothing good to say, please refrain from saying it at all. Thanks in advance. B

Mike, Please don't post here anymore. I am looking for someone else to chime in on their experience. Not your nonsense snarky comments. Your remarks are not helpful. I can make my own decisions thank you, but I do relly on others mixers experience and perspective to enlighten me on things I may not have thought of. This is the last time I respond to you. understand. Your trolling, and it's annoying. Thanks everyone else for your insight. I appreciate you taking the time to give quality advice. Happy Mixing. B

For my Schoeps setup, CMC6/41 and 4 I swithched to the cinela mounts not to long ago from the K-teks and Schoeps mounts. For me the price of entry was worth it altogether already. I prefer to record with a low cut of 60hz at 12db per octave. Sometimes this can be a little much for a boom op that has to do quick moves. I noticed a huge difference. Night and day for me. Yes Pricey but I find myself being anoyed at always fidgiting with other mounts. This mount is it for me. I am finding myself on quieter sets with better actors and technichians and then talk quieter all the time. Cranking input gains you can really start to hear handling noise and I don't want to jeopordize any takes because I refuse to buy the best. Time will tell if it's rugged enough. 2 cents Brian

Can anyone else chime in on their experience?