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The Immoral Mr Teas

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About The Immoral Mr Teas

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    Hero Member

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    UK, Europe, Asia and occasionally the States
  • Interested in Sound for Picture
  • About
    Film Sound

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  1. The Immoral Mr Teas

    sound blankets berlin

    How about a handful of (very lightweight) cotton sheets in white and grey (or light green or whatever) to stick over the cheap black blankets when required? Obviously an extra step to setting up but not a major one? J
  2. The Immoral Mr Teas

    Why I'm sick (Literally)

    I'm kind of with Tom with this - and quite a fan of the potential of the moving camera (late 1920's before "sound" came along and triggered one of cinema's great regressions especially) - The Last Laugh, anyone? Dan, we're both of the starting out era where production would constantly talk of the NYPD look - but it was very much from the lineage from HSB started a few years before. (Being a huge fan of Hill Street Blues this already irritated me in the late 80s early 90s!) The 'handheld' within HSB was apparently intended to be the style throughout the show but almost immediately it was deemed too extreme and from then on used just for the opening scene 'Rollcall' and on odd shots like chases. Yet the Rollcall was so distinctive anyway that it made a huge impact (on the Emmys at least). . . . Actually my 'fetish era' extends across the late 20s through the early 30s - the end of silent cinema with its newly freed camera and the very start of sound cinema where sound was a great new possibility. Murnau, Lang, Pabst, Vertov, etc. Yet within just a few months after this wonderful experimental period we were churning out mediocre stage drama. Not every day I get to talk crap about not only my favourite TV show but also 90 year old cinema! Jez
  3. The Immoral Mr Teas

    Frames for sound cart

    From a non-carter (editor/fx recordist) very nice looking. And that gets me thinking - if I did eventually construct something from a zuca bmx style or similar - sideways would be a good alternative. Something flexible enough to have 19" racks above the wheel for studio use then alternative layouts for exterior recording. Nice, cheers! Jez
  4. The Immoral Mr Teas

    What is your spare recorder

    Dan's already said it but, Zoom F4 = 4 mic pres, 6 isos, stereo mix 2x DR680 = 12 (I think?) mic pres, 14 (I think) isos, stereo mix Just "my two percent" With Dalton too here - interested, but not interested enough to get hip with the usergroup. And codyman, my second recorder is the R4 Pro - massive for a piece of plastic, all the switches in the wrong place (didn't think of the bag), BUT tc (ok maybe not the best), AES io, and I've just thought this could be BRILLIANT for speed draining AAs for recharge ... why didn't I think of it before? Ha, cheers! I think the F8 (not the DR70/701, nor F4, nor SDMP6) was the 'last' game changer - and still wonder why the 'regression' of (none) AES io has happened and persists with the two main players - the one function that would make 'a spare recorder' a real asset. True, I may be missing the convenience/simplicity of HDMI but once again haven't given it much thought. Jez
  5. The Immoral Mr Teas

    What is your spare recorder

    Wow, so there might not have been any hardware changes at all in: i. A headphone amp system ii. A power distribution system that allows a switched off machine (without a second dedicated battery) to keep on powering a TC clock. Impressive. But still possible (i: the noise may have been a software problem which was identified and resolved; ii: the machine now has a 'sleep' mode which keeps the TC clock going). I haven't read any manuals or updates before posting this so forgive any abruptness. Still, it would be good to hear from Zoom Official (hopefully listening here) what the actual situation might be. If the F8n was improved in hardware and the F8 ironed out in software I would be impressed and gladdened to be told it so. The F8 I believe was a game changer for lower cost quality semi pro gear (I think more than the DR680 and the Roland R44 - although both still hold the AES io advantage). Jez
  6. The Immoral Mr Teas

    Sound on A Star Is Born

    Is that "beautiful 'sound color'", Marc? J
  7. The Immoral Mr Teas

    Rycote acquired by The Vitec Group.

    Damn - lost my post and it DIDN'T reappear! So in short: thanks Dan, Albert new to me, knew Schoeps (quad ORTF, MSM etc) but they used stereo rycote (AE,AF) bodies, as I have with same rycotes with K&M bars fitted. all use existing (or 'too small') shields and have v expensive mic shortening solutions inside (DIY = cheaper mic shortening solutions, like dodgy XLRs) was thinking to go bigger windshield for more air. Maybe in two semicircle halves which could be joined into a circle or backed by a plate then have relevant windjammer options. Main thing, (like the Albert) have variable bar system within to not be constrained on recording choices. but - maybe too niche? As I said, I have plenty of ideas based on my DIY crap. ...hope this posts... j Since that posted ok I'll mention my own rigs include a 2x AF for quad eg IRT and a 2x AF + smaller Rycote(s) for 5.0/5.1 (C/sub)
  8. The Immoral Mr Teas

    Schoeps MiniCMIT or DPA 4017b

    Cheers Trey, forgot that one - relatively recent if I remember? Yep, that pretty much does what the MKH in-builts does (+ several other LCF on several mics). Just loved the variable cut of the Cut 1/2s (and always hoped that MKH would come up with a similar style gadget with extreme LCF and variable higher LCF for the 80xx series, specifically for dialogue but embracing musical instruments etc. Just liked the idea of the lower spectrum graph of the LC2 although I accept it to be more specialised. Old folk here will remember the multi-stepped EQ options on the Nagra 4 models, designed to cope for film and music possibilities (recorder cut I know, but an interesting blast from the past for completism). And Cheers Derek - online timing! J Edit - addendum! Forgot to mention I've never looked into the variable Cuts 1/2 possibly adding a tiny bit of noise which perhaps the Cut 60 or other fixed cuts wouldn't. Maybe they don't but I've often thought they might. Nevertheless, the variability is a feature I love about the Cut 1 and wanted for my other mics.
  9. The Immoral Mr Teas

    Schoeps MiniCMIT or DPA 4017b

    Curious with all the Schoeps regulars here. I have a Cut 1 and find it indispensable but have since liked the 'look' of the Cut 2 more. Use my Schoeps so little to warrant any change but always been curious as I say if anyone doing production/dialogues here uses both or the 2 over the 1? I also like the option of cutting at the mic and for that reason like both the Cut 1 and my MKH 40 over the 8040s for much stuff, including boom. And with the excellent (Cut 1 Cut 2 LPF etc) modular accessories already in the Schoeps canon I wonder why a shotgun 'capsule' never appeared - always a single unit. (I have mics by both, and love both - but don't use them in production sound as per OP post - so apologies for more questions, no answers!) Cheers, Jez
  10. The Immoral Mr Teas

    Aeta Systems 4MINX

    What's the graph, Ramallo? An ambient recording? It looks strangely like a good old fashioned 6dB/octave LF magnetic curve but expect it isn't. And there's two almost as disturbing peaks (or actually much worse, excepting their musical position) at c. 70 and 20k Hz? What are they?? Cheers, J
  11. The Immoral Mr Teas

    Rycote acquired by The Vitec Group.

    Hmm, Rycote was a small company (much like Cinela) who grew from innovation, quality and (IMO excellent) customer service. There were some bad words spoken when they bought Lightwave but I think it was a more than decently intentioned buyout - if anything, as an owner of some Lightwave camera windshields, I'm sorry that Rycote didn't make (to me obvious) improvements to them. Apart from that, being 'first there', constantly listening and improving, and really very friendly and helpful I think actually set the standard that anyone else had to address. And probably did anyway through good nature, but quality against quality is always the best battle. I'm still quite surprised that nobody has properly developed a true (ie bigger) windshield for stereo, LCR, quad ... beyond fixed angles (ie ORTF) - I'm happy to help with my own ideas if any of the major players wanted to go down this route. Jez Adamson
  12. The Immoral Mr Teas

    Aeta Systems 4MINX

    By low level you mean 'quiet' I take it? I work quiet all the time (atmos fx etc) and had heard of the good preamps. A sine wave (?) at 1490Hz over quiet atmos would be awful. First I'd heard of it. Hardware or software problem I wonder? Cheers, Jez
  13. The Immoral Mr Teas

    PD6 with CF card and a partition reader program - it works now!

    Can't disagree - but since the PD and along the same lines the HHB 2000 were such high spec and functional they both may have at least one new lease of life as decent quality mic preamps feeding AES inputs on a cart. That is - if you have one (and have this need). J
  14. The Immoral Mr Teas

    RF and MKH50

    Hey, Blue, it would be good to know in what circumstances (extreme?) - I would assume all mics are somewhat challenged by humidity but having lived and worked in the 'tropics' (HK, Thailand, Philippines) I have trusted my MKH, Bruel and Kjaer, and DPA to survive and function. Cheers, Jez And having just noticed New Brunswick maybe it's an extreme cold humidity? So is that the case?
  15. The Immoral Mr Teas

    New Zoom H3-VR Recorder mic combo..

    I'm more than happy about using ambisonics as a tool, as and when. I would hate to see it becoming a 'specified' recording technique for 'almost everything' (or specifically FX), much like the similar (thankfully short-lived) situation in the 80s where several broadcasters specified MS across the board (which has been spoken about on JW before). Why? Because it's a technique that doesn't work for a lot of things. Especially in theatrical film (and including car passes and phasey broadband atmos). But I've nothing against recording ALSO in ambisonics where time and track count allow - there may well be a future situation where I'd be using such recordings a lot in a more ambisonic-mix-friendly environment. Maybe I didn't make my point clear ( - maybe I still haven't). I've always found it an interesting technique - enough to have invested in a very expensive tool - and I'm interested in the renaissance and evolution of the technique. Jez