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About ryanpeds

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    Hero Member
  • Birthday May 29

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  • Location
    Salt Lake City, UT
  • About
    I'm a sound mixer located in the beautiful state of Utah. Narrative film and TV are my bread and butter but work on commercials and ENG/doc while in between shows.
  • Interested in Sound for Picture

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  1. It really depends... the following is based off of personal experience and will be different for other productions. First, make friends with the grips. They usually, not always, see above from Philip, have lots of sound absorbing things. The smaller the shoot the more you’ll have to rely on your own equipment and setup. Thicker, black and white or even gray furni pads are an excellent way combined with stands. This works best for smaller spaces just because furni pads are smaller. In larger spaces, we work with the grips to see if we can get 12x blacks to help calm spaces. This seems to help in gyms or larger rooms. As stated it is getting harder with multiple cameras. I will also say that the most important thing is listening to what the dialogue sounds like naturally in the space with a good boom op and proper mic choice. I’m always surprised to hear scenes after it’s been posted and aired. Scenes/locations that I hated or didn’t think sounded very good have cleaned up really well and didn’t bother me after hearing it air. I personally believe that people are becoming to accustomed to the sound of wires and we are loosing the natural acoustics of what rooms should sound like even on tight close ups.
  2. Karl or Larry, Does the DSQD employ the same type of IQ filtering when in digital hybrid mode as the venue 2? I’ve read through the whole manual and don’t see anything about that tech. That’s one of my favorite features of the venue 2 and why I bought it versus a venue 1 system.
  3. ryanpeds

    Cold 5G

    I’ve used SRCs in cold temps and didn’t have any range issues or problems with dropouts. I have one early b1 block and a later b1 block. No issues with either. Could be the 5G but that is in the 600 range.
  4. I’ve used them twice now. First was for a documentary style race for a show company out on the Bonneville salt Flats. Camera teams were following the racers so we rigged up their packs with mics and PDRs. Worked great. They were still rolling after they got back from a multiple hour run. Also used one for a tandem paraglide. Rigged up the talent and rolled. Worked great. Super easy to jam with Timecode. Lithium battery operates at least 5 hours. We also used the split gain mode in case the runners got really loud for any reason.
  5. Worked a feature at 10,000’ in the middle of winter. CMIT5u was used the whole time without a glitch.
  6. I demoed Audio Limited, Wisycom, and Sony. I already own Lectrosonics analog FM and don’t like the digital transmitter options that are currently available. I want to start going digital because our spectrum is disappearing so that removed the Wisycoms from the options. I had to many issues with the audio limited and I didn’t like the Bluetooth app. The Sony’s had amazing range, especially on fins and that’s how i’ll mostly be using them. I like the remote control that they have over zigbee and they now offer a unislot compatible receiver. I also like the plug on transmitters for my booms over a lav pack. They sounded great. And just to be clear these are the high end Sony systems, not any of the cheaper ones they offer. I don’t know how many i’ll implement for talent wireless yet. Just booms for now. I should also mention that they are competitively priced with Lectro, Audio Limited, Wisycom
  7. If used with the RX-12, will you be able to output 24 channels of audio? 6 modules, 4 channels each is 24. There are 6 TA5 outputs so with AES you could technically do 24. Will the RX-12 support that?
  8. I have all three versions of the the comtek transmitters and use the M-216 option 7 in the bag. I’ve never had clients complain about hits or short range. I’m not sure on exact range on the m-216 but I get way more than 20ft. Something weird is going on if you’re only getting 10-20ft.
  9. The bags are very well made. The internal structure is similar to that of a porta brace bag. It doesn’t have a metal structure but the way the bag is designed it stays put rather well. I didn’t add a lot of internal storage. You can stash a battery underneath the PSC 6 pack. There are external pouches that can be moved around to 3 different positions that house my boom feed and Comtek. I have gotten rid of the power distro and the 6 pack now feeds directly off of the Cantar. So I don’t need external batteries anymore, I just use the 2 internal. I use the 4 pin XLR when on the cart which is the intended use anyway. I have an analog to AES converter on the cart for the AES inputs. I plan on adding a Sony DWR-S03D when they come out later this year and that will feed the AES inputs directly. Currently when in the bag it’s just 6 analog inputs fed from the PSC 6 pack. I’ll probably add another PSC 6 pack with the Sony receivers feeding the AES in the future.
  10. You’ll need some sort of recorder on each talent, such as a PDR, to get the sound while in the plane and diving.
  11. I had Protogear make me a custom bag. The only downside was it was quite expensive. I’ve now added the PSC 6 pack where he wireless are so it’s much cleaner.
  12. I believe that the only difference is the boom length. I think the 4188 is 100mm and the 4288 is 120mm.
  13. 80/20 sells a plate that allows you to mount standard casters to the profiles. I’d have to look up the part number.
  14. Why don’t you just buy an IEM Receiver. They don’t cost that much
  15. I would have also liked to have seen AES on the new D2 Receiver. That currently makes it a deal breaker for me. I need a receiver that outputs AES for the Cantar Mini. I’d be fine if the XLRs could do both analog and AES with either a physical switch or menu option. As as for the new transmitter, I agree that it’s too big. The LT style isn’t great for narrative. It’s hard enough to get SMVs and SSMs on talent. For the future I’d like to see SMV and SMQV style and don’t use the new wideband menu system. I don’t care for it. I like the older versions better. Removable antenna, lemo Connectors all around, multiple options for RF power, RF controllable parameters would always be great, don’t care much about IR but that seems to be easy to add. I’d really like to see an SMQV style pack that will do 48V. If you do a plug-in style Transmitter please change the XLR connector to the screw on type similar to Wisycom and Sony. I think it’s a much better way of securing and it’s much easier to use.
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