The Immoral Mr Teas

Jan, first of all I thank you for bringing a difficult topic up, and doing it with courage and humour is clearly appreciated by all of us. The replies have been just as inspirational. Secondly (I couldn't manage to put the quote box in the right place - hopefully it's a tonight thing) my little comments on the box: Curriculum - millions? Hmm - education has been discussed recently and many times before here. I think it's as simple as coming down to 'looking, listening, understanding' - everyone in the industry has real understanding when compromises from the 'it works' are made and why. And with this understanding we are able to come up with situations when it could work better. Education should teach the first bit, but it really seems to me to want to churn out 'stars' in the order; auteur, director, producer, DP, then maybe the lesser ones they might eventually claim as alumni. We all know this is not the reality of industry and that the film industry, despite it's faults, carries on (and is enjoyable let alone survivable) because it is an industry, not the celebrity group of 'celeb-techs' that education pretends. Being another who managed to work in pretty serious radio early on in my career (and my love is split equally between 'broadcast' and 'film' which in my experience have been very separate worlds) ... we have been told that we are in a new golden era of television (personally I don't see it - I still look back to far better periods of both television and film throughout the world) I'm encouraged by Olle's words about radio (/sound only broadcast). If there's a new generation of listeners (after 'starers') this might be a good shift and Jan I'm sure you would be an excellent teacher of storytelling, emphasis and technical know how. For what it's worth, the all time best radio for me (above War of the Worlds, Glenn Gould and Hitchhiker's Guide to the Galaxy ...) was the BBC series of Lord of the Rings in 1980. (Best as original 26 half hour episodes but still excellent in the 13x one hour release - ruined when they reedited it to follow the book losing the potboiler drama aspect). My second favourite is also 1980s The Tree of Strife. What I mean to say is ... Jan - teach !! But if film, tv, radio etc is indeed unteachable (I'm being unintentionally unkind to excellent people who did once teach me here...) enjoy retirement, your legacy, inspiration to others and the fun I am sure you have had. All the best, Jez Adamson

Everybody thank you - it actually looks like a very good blimp, size and proportion. Cheers, J

a* le**s th**y** tr*ing ... what? AT LEAST THEY ARE TRYING !!

Rack width? (19 inches) Or do you mean depth? (Available space backwards for big rack equipment). Jez (guessing)

Starquad Dab O'Solder with the Cannons New Trix XXY

Yep OK, Codyman (and Jeff!) - I also subscribed (in theory, since an occasional sound recordist but not a PSM) to Daniel's ideas years ago to keep the heavy stuff on the back and the control - as light as possible - on the front. The Nova looks to achieve this very nicely. Personally I would also want in fx recording to have notebook and a few gadgets up front yet I don't tend to see many extras in Show Me Your Bag pictures. Actually my preference goes against most of what I tend to see: I would rather have a large and particularly wide (against fat) bag in front but try to keep the weight way down and up against the body. When I needed to chuck extra stuff in (notes, mics or fix units up like a Soundfield box I have room - likewise for headphones). I don't much like the look of any of the compact narrow bags which extend forward - although I grant that wireless receivers are lighter and the weight is still to the back (ie the stomach). It's just that in the modern world of the frame bag I would like to have space up front (but would still advocate putting weight on the back or around the hips). Best, Jez

I thought the point was that there ARE no extras - battery at the back, transmitters built in? Although I'm not sure what the Nova actually can do, I could be wrong. Otherwise - extras elsewhere

Of course, when the entire Blumlein family fall out and refuse to work together (or get mixed up with devil worshippers) we are left with The Blumlein Pair What though do all these band names have in common? They are all bands who I would not pay to go and see! J x

Dan, you forgot Ground Lift

Jim, the Sennheisers are already such a step up (at least for your kid's use) that he's probably already experiencing ecstasy! After a while remind him to come back to the thread and try out open (or semi open) HP for better response and comfort over hours if he's in such a position to need such long use. Personally I'm grateful to Fred for the mini review of the DT880Pro since I love my DT550s and know they will have to be replaced eventually and the considered appraisal helps me already. Best all, Jez

Jim, I'm quoting TVPS not because I know either the 300 or 600 but because he's answering as a headphone user who usually 'critically moniters' in a space with speakers. I ended up using 7506 cans frequently (I am not a production sound recordist) because they're extremely comfortable and I bought a level limited set and care about my ears. I have always thought they sound dreadful but accepted that they perhaps accentuate 'production sound problems' and are therefore useful. In the end, I have got used to their weird response (and lack of isolation) for fx recording and the comfort and limiting protection (and size) have meant I still use them often. In music however the venerable BeyerDynamic DT 100 have always sounded great and are bulletproof - and in my lifetime were the studio staples. I have DT150s which I would recommend as a starting point. When I need to edit or even mix / premix on headphones the difference of using open headphones is enormous. In such cases I edit with DT 550s ... I think 990s are the modern version. So here's my answer ... actually maybe Sennheiser HD25 or SP if he's comfortable with the supraaural thing (and needs closed); open headphones (DT990 etc, many other choices) are to my mind the best bet for comfort against ear fatigue; in ears - Etymotic Research ER6 (I have the pricier 4) for excellent sounding low profile earbuds that permit low listening levels so not blasting out deafening volumes. Or - two pairs - DT 990 and 150 for when the outside noise kicks in. Best, Jez

As far as I can recall the only wide cardioids I currently own are in my ambisonic soundfield- although as I principally use omnis (Bruel & Kjaer and DPA) and cardioids (Sennheiser and Schoeps etc) for ambience I would also eventually like to pick up at least a stereo pair if not a stereo quad or more. I've looked at several cheaper options but in the end it is a question of how much you want to spend on a 'not so versatile' mic or mic set, especially in my case when I already have an excellent set of omnis and a pair (+ extras) of quality cardioids. For ambience there is a lot to be said for them though - a certain 'directionality' especially in stereo use whilst preserving some of the benefits of omnis. You already know the benefits of the type/pattern though as regards classical recording - for atmos there is no difference there. For orchestral stuff I would even be considering three mics, for a Decca like arrangement. Outside of music and ambience of course a single wide cardioid is sometimes advantageous as a centre MS mic and perhaps in plant situations (though I doubt over an omni for the latter). I realise I haven't helped much there but probably backed up your own thoughts! But if you're recording music and atmos enough you will probably never be upset with having a quality specialist pair in your kit. Jez

Hi Thielle, no-one would want to teach a potential apprentice by the 'copy method' -alas I believe many schools don't understand this basic fact. I was taught (when in the industry) by "here's the scene, here are some sounds; I'll come back and hear what you've come up with". Several of my friends worked on many of the Potters (I attempted to get work on the first!) - everybody's work was different and interesting and mutually appreciated as far as I ever saw. I remember one editor being asked to present his finished tracks to a film school - which he declined (because of what I said previously rather than some abstract idea of secrecy). In fact everyone I'm thinking of here have been most happy to share their successes (and failures) in editing with anyone who really knows what they're asking. Just to reiterate- don't learn by (direct) copying, learn by trial and error (although copying by trying to recognise and understand is indeed good practice). Learn by listening and trying to understand: and don't focus on "sound design" - focus on storytelling - - can I hear the dialogue? did I miss anything because I couldn't hear the dialogue? - did I lose track of what was going on because I was too interested in the sound? The bread and butter of sound editing is like everything else in filmmaking - making the unreal completely believable - and it is essential that this is understood. 90% of what we do is ordinary, often even boring, not spectacular. Dialogue has to be clear, things have to sound how they look like. Before adding the cherries the cake has to be made. Don't start with 'sound design' start with storytelling. After that of course you can change anything and everything. Two food metaphors already, so I'll spare you the pizza made from above ... I had 'sound bibles' when I was starting out, and they weren't Apocalypse Now etc - they were films which told stories well with totally different approaches to sound, some direct, some subtle (in no cases were the soundtrack considered paramount over other departments). Tell the story, and as a good learning tip try to do so without drawing attention to your sound. Best of luck, Jez Adamson

I haven't looked into what the port is capable of so please be generous to my ignorance/laziness, but a general top unit utilising several functions even if not all possible to function at once might well be a good idea. (If Allan was pointing the input backwards to become an output I appreciated that joke). Jez

Actually I was just too taken with the look of them, which I loved. In fact I'm an editor so know and choose open back headphones over closed whenever the 'need to use, chance to choose' allows. A pair of (again, BeyerDynamic) DT 550 - dependable and 'brain comfortable' for times I have to edit and/or premix on headphones and happy to do so for long periods when needed. I'd be interested if the opportunity came to give those nice looking 'ear clogs' a try btw! Jez