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graham

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Everything posted by graham

  1. The rj45 ends that connect to the baluns should be fine if you strain relief the cable at the cart(s). If you use a coupler for more length and are concerned about this being a weak point, what about slipping a small cut of 1" PVC over the connection? put a little foam in there to stop movement or bouncing and you now have a more durable coupler with the rj45 connectors protected
  2. I have no way of gaging the radiation shielding and for all I know its about as useful as a tinfoil hat. The placement of the drivers and the isolation are great. I've used the pro 650s for 5 years
  3. I use the ultrasone pro 650. Its a bit bulky and doesn't fold as nice as the 7506. I find them comfortable. Ditto I also need less monitor gain with these compared to the 7506, further decreasing fatigue. At the end of a "reality" day with 7506 my ears feel stuffed with cotton( let alone the mind numbing crap my brain has absorbed). With the ultrasones, my ears feel fine although my brain often shuts down and goes into self preservation mode
  4. I've spoken with a few people and read numerous posts where this distinction is not made. I have a loose understanding of it and would appreciate those more knowledgeable chiming in to clarify. I've tried finding this in the ARRL handbook but am not sure what search words to look for in the index. From my understanding, RF gain attributed to an antenna type such as a helical(+14db) or LPDA(+4-6db) is totally different from gain needed to get back to zero on a receiver from couplers or long cable runs using a low noise amplifier(LNA). The antenna gain is similar to microphone pickup patterns and their "reach". A helical antenna radiates a field that is cone shaped( I think a 45 degree) ie very directional. This or a yagi are like long shotguns(using the metaphor, not actual polar pattern). The gain from these antennas are NOT the same as a microphone's sensitivity or related in any way to the actual strength of the signal which is sent down the line. Gain from an amplifier( typically a LNA) is what boosts the strength of the signal down the line. Too much can overload the receiver. To little or none will lead to poor signal reception and dropouts. A LNA is used to get the signal back to zero. If you are using a short cable run into a coupler, the LNA can live by the couplers. If its a long cable run, the LNA should be at the antenna. A 4 way split typically has about 6db of loss and an 8 way has 10db loss.
  5. graham

    iphone apps

    I was able to get airphones up and working. There is a delay but not horrendous. I routed through Sound Studio 3. It has a "play through" option that allowed me to do live transmission. I was able to keep the ULN8 as the default output(to monitor via headphones) and SS3 fed airphones. I would not use this on a job yet as there are still some issues. What's interesting is that airphones is a two channel transmission. I'll play around some more and see about the mix to one channel and time code to the other.
  6. http://www.gizmag.com/audioscope-audio-zooming-technology/16498/ Not that I see us using it practically, but an interesting concept
  7. I use CS3e over the 416. It makes a big difference on NYC streets(BIG difference). If its a quieter location and I don't need to worry about traffic or a genny, I use the 416. I think the 416 is more pleasing in tone than the CS3e. CS3e has a bit more self noise but that is not noticeable on exteriors. I did have a CS3e blow capsules as a result of an inexperienced boom op feeding it T power via a Sound Devices mm1. Took a month long $600 repair to Japan. The 416 is more durable, humidity resistant and some say rf resistant. However, I have never had interference on the CS3e. Thankfully I have both so there is no issue with "which one should I get"
  8. http://www.tcelectronic.com/novadelay.asp 12V DC 300 mA $250 new at Guitar Center Before I used a simple boss guitar pedal(9v battery) in a bag setup, I had checked into this unit but found the footprint to big for the bag. Of course it's over 3x more $ than the shark...
  9. I've used a guitar pedal in a bag set up. It was silly but it worked
  10. Perhaps the author was new to the column and misquoted or did not understand fully what he was told? As for the mixer in the trunk, we had a nice long thread already.
  11. Even more reason for you to get the other guy's contact info
  12. Not my market but I do work in NYC which has a few noise issues I did a show with a cast between 2-8 in each scene. Although it was all wires, I could easily have done 90% with a boom. It would be in set locations and lit. That being said, no way in hell would I do that. I would not be willing to swing a boom for 1-3 hours continuously, let alone with a mixer on, for a reality show. Also, that production co. wouldn't want that either. It's easy for the contributors to forget they have a wire on, but there's no avoiding a swinging boom and it would interrupt the flow of conversation ie where they might go shopping next or whom they would like to sleep with. Heaven forbid if America doesn't get answers to that! What you should walk away with: Unless production is full of shit, there's someone in your market with some excellent booming skills. Get his/her name and number and hire him next time you need a boom op.
  13. http://jwsound.net/SMF/index.php?topic=4177.msg30050#msg30050
  14. I use toast to burn UDF formatted discs which are compatible with dv40s and dv824s as opposed to an external DVD RAM drive
  15. HA! You actually nailed it! A few times after planning and building I find an issue that would cause me to feel like that. Most times, however, its a bit of zen and enjoyable for me to prep. Sorry you lost all that work
  16. I'd be concerned about multitasking a computer and relying on it as my recorder. I treat my computer as a recorder. I don't upgrade anything non sound related and keep the hard drive as empty as possible. I always record to an external drive. I am no computer expert and for all I know, a computer with tons of utilities and apps could work fine. I use a Macbook with 2.2ghz intel core 2 duo with 2gb od sdram. 20 channels in boomrecorder for long periods are no issue If your doing long takes a reliable master clock is recommended or sound and picture drift apart. I never used the USBpre, and am not sure of its accuracy. Most interfaces do not clock to the standards we use on our recorders like a 744t, deva, cantar, etc. You said "for the price" so I'm assuming you are looking in the $500 range. This means a used interface at this price. I would guess a RME fireface 400 or Motu Traveller would be in that range. They are both bus powered from the computer(or you can use a separate power supply). You did not say if you are using anything before the interface. Many people have an analog mixer that then feeds the unit. I'm assuming you are going direct to the interface. Both units have individual phantom for a few channels. With the FF, its not as easy to manage control of the unit externally meaning, there is only one knob, you have to scroll to find menu item and then adjust(headphone balance, mic pre, etc). The Motu has easier access on the front panel. Both can easily be manipulated with their provided software. Personally, i think the motu would be best based on this alone as well as the dsp(limiters, eq, etc) that the FF lacks(although it has some unique operational features. read the manual). I have never used the Motu, however. I have used the FF and found it to be quite decent(I was using it in conjunction with an RME Octamic). I am curious about your decision to use a computer based recording system in a doc environment. Why not a small portable like an edirol r9 or a Zoom H4?
  17. I found the test to be roughly 35% union oriented questions. As in: you need a second boom and production offers you a PA. What do you do? 35% safety/common sense: AD is screaming over walkie for an actor whos a minor on set while you went to mic him. No one else is in his trailer. What do you do. 30% gear related.
  18. Is the "stamp as 48.048" enabled in Boomrecorder?
  19. My sister was in town and came with me to a rental house. She was looking at the labels and names on some item and commented that if she had just heard some of the names without seeing the items, she would assume she was in a hunting lodge. I thought it would be interesting to compile a list somewhat specific to our industry with how we define them. butt plug - xlr plug on transmitter dead cat/ dead wombat - "hairy" cover for a wind blimp wire - refers to lavalier plus transmitter. as in "wire the talent" shotgun - supercardioid microphone MOS - mixer outside smoking, Mit out sound, minus/missing optical stripe, etc. *edit - I did a search after posting and came across The Coffey Audio Files from a few years ago that had a glossary. oh well. could still be interesting so I'll let the post live
  20. Hey Take, As Brian said, I use the Behringer BCF2000. Its a smaller format and great for the price. Are you considering Mackie Protocol, Eucontrol, OSC or a combination? A very important option is to be able to use the control surface in the background. This allows a different program to be "on top" and still control Boomrecorder. I dont think eucon allows for this, however. Cool midi info and how to build your own control surface can be found at ucapps.de if you're interested. I also know some folks in the music and theater world are considering and/ or using the ipad with AC-7 since the Lemur is still rather pricey.
  21. Hey Noah, I don't remember if you are using the 2100mah Imedions. I just placed an order at Thomas Batteries and they are now up to 2400
  22. I love the cs3e for what it does but not really for how it sounds. I'd take a 416 over a cs3e any day in a quiet exterior. However, Qing out the genny, reducing traffic/ bus noise and all the other fun NYC exterior sounds that kill a track, I think the sanken is generally the best choice for getting useable dialogue
  23. Hey Jan, Other options aside from foam could be pouches like the ones that come with comteks or you could line up and glue some petrol pouches like the pwp
  24. Here is Wolf's contract that was posted on RAMPS a while back http://groups.google.com/group/rec.arts.movies.production.sound/browse_thread/thread/683c21657df2fbd/5b908e857ca2c6b6?lnk=gst&q=wolf+rental+contract#5b908e857ca2c6b6
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