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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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  • Location
    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 gets no respect! Hmmmm.

    Jay, you didn't have to explain it (to us) - perfect. I second Larry! Mike, I watched Merry Christmas last night, certainly for me one of the very best Christmas films going, and a tough watch. You made a classic and one which made me want to be in this industry when I saw it as a kid. Bless all, Jez
  2. The Immoral Mr Teas


    Ha! I immediately looked them up on ebay - two available at $999 ! If I sold both my nicely lined up functioning Nagras I could buy a pair of these sexy 'phones! But yep, they are nice to see and learn about. (Japan - why might anyone choose them over the 7506 - linear response?) Good all round though - thank you both Jez
  3. The Immoral Mr Teas

    Sound gets no respect! Hmmmm.

    Ty - it's Christmas! Why the pessimistic subject?? Myself: soundie, engineer, editor, technician .... above all - always for now virtually thirty years - "filmmaker" Happy Christmas to everyone - but to Mike as a fond and proud extra - MERRY CHRISTMAS MR WESTGATE ! Bless this forum! Jez x
  4. The Immoral Mr Teas


    No idea - but - was it a digital or good old fashioned normal photo? I'm asking because I couldn't zoom in to the obvious writing all over the earpiece which would probably answer your question (albeit likely in Japanese). If you can post another picture with high enough definition to make out the writing I guess identification would be easy. As a long time DT48 enthusiast I would be keen to know what those good-looking cans are myself! One starting guess is something by Kamesan, who were (and maybe are) a force in Japanese film/broadcast sound equipment. Jez
  5. The Immoral Mr Teas

    Nagra Stories Sound-men won’t ever tell

    dela, you got a Richmond Film Services sell-off! Although I used rented SQNs for years and rented from RFS for as many years I'm sorry to say I am sure I never hired that particular unit! I vaguely think that the SQN was developed for and originally used by ITN (BBC's rival ITV news body) rather than the BBC - though I'm sure the BBC would have been soon to follow. Obviously I post my opinions/memory before checking my facts (as-is-my-wont) but it is worth pointing out that the story of the SQN3 and the Nagra SN is illustrated on the SQN website. If you haven't done so already open those SQNs up and look inside - I was astonished at how every picometre of space was used inside my SQN4 when I opened it to set the direct out connection. Best, Jez
  6. The Immoral Mr Teas

    Is nothing sacred?

    One Male Dolly Bird?
  7. The Immoral Mr Teas

    MIX and ISO Tracks levels

    Iron - tut tut - don't blame other departments. I've worked with picture departments on sound who have taught me stuff and could blow many sound dept folk away with their ability (privately one in mind with an Oscar nomination: his ex assistants taught me, they all helped me, and everyone helped to get the job done). Scott, I also love and trust the PPM - after all, it's how I learnt my trade. And whilst having assisted in music I never had the same trust (actually, embarrassingly, less trust but understanding through practice) in the VU on the consoles. Even when I don't plug the PPMs in I still hang onto them: I know the 'trust' is from a broadcast basis but it's also from knowing what's what in practice.
  8. Thank you Mono, I lost this house to this man in a bet, along with my trousers and baseball cap. But then I'd only lived there 6 months myself, having won it (along with trousers and baseball cap) from Phil Oakey from The Human League (whom I believe had himself won it from the late great and sadly missed Nic Roeg). Best, Jez Adamson
  9. The Immoral Mr Teas

    New toys from Klark Teknik

    Sums it all up, doesn't it?! Used Klark Technik, etc years before I heard of Behringer, Zoom ... ! J
  10. The Immoral Mr Teas

    MIX and ISO Tracks levels

    Vas, me too: it's what I grew up with mixing broadcast. But it is an analogue (and transmission) standard (12ms to 99% peak if I remember - it will be embarrassing but understandable if I'm wrong). Still, it worked, and I agree it works within digital parameters: I am pretty sure that most digital spikes we have to deal with in dialogue post would not be there if a reasonable level PPM was the reference for recording: but is a digital PPM for mixers and recorders just a model on an analogue one, not the 'subtle real thing'? Still, for me too, I use the 'ppm+peak' on my 302, ... And hang onto my Neve (in a box) and BBC (not plugged in) PPM meters for my editing setup! Cheers, Jez
  11. The Immoral Mr Teas

    MIX and ISO Tracks levels

    I'll quote myself first: Then afewmoreyears quoting RP: Then finally your reply to my question: To me it sounds very very likely that this is not being 'properly' dialogue edited, but dialogue edited in an environment (with such folk) which is based on (probably cheap) general editing. Who maybe work only with super hot tracks for live reality or docu and this is their first bash or successful low quote on sound for a drama series. My guess only - but having to boost isos as hot as your's seem to be on that kind of scale (rather than the 'one in ten or so' we might expect) sounds suspect. If it's really a problem, for the existing job or future work with the same production team, I might suggest looking at solving the 'problem' with the cooperation of the editorial dept, who are already happy, and if the problem indeed lies with sound post might be better suited to help correct the situation. If the problem is elsewhere they may be better placed to help sort 'what is expected'. For me, at the end of the day, if sound is usable/clean (not distorted or obscured with noise) then it's good sound. But it might be just an unfortunate combination of cheap quotes, tight schedules, non-fitting workflows etc. So good luck - try editorial and try to be understanding to post's needs. Best, Jez
  12. The Immoral Mr Teas

    MIX and ISO Tracks levels

    First of all I will second what Phil said - too low can indeed be too low - not as much as signal to noise (though that can be also the case) but that the editorial workstations cannot really handle major gain shifts : less so now but significant in the last say 20 years. Having said that, Vale, as a dialogue editor I would hope that my isos are lower and not at the distort level: I've worked with isos which are super quiet (too much so) but in extreme multi camera chaos - your own suggested levels would be ideal for me ... possibly even slightly hotter than I needed or expected ... but then I'm not cutting Netflix: was the criticism from the assistant editor or the dialogue editor/post sound dept? Best, Jez Adamson
  13. The Immoral Mr Teas

    416 end cap

    Hi Robert - 'maybe yes, maybe no!' I'm basing this on my taking apart an 805 which was the '60s long mic which developed into the 815/816 and 415/416: inside the outer tube, inside the 'padding' (basic windshielding), in the 805 the interference tube was (surprisingly to me) a metal tube with little holes drilled along it along the top - and nowhere near as many as the slots suggested in the outer tube. Importantly however the diameter of the holes slightly but gradually increased at the mouth end: so I would assume it's important sound-wise not to cover the last hole(s) with any mend. Perhaps the 416 (or mics later than the 805) didn't have the internal metal tube beneath the padding - but if it is there I would run a little finger or cotton bud inside to locate the 'final hole' (or holes if more than one line - or indeed slots if that's the case). If the innards are such just make sure you don't tape over any part of the final hole. If however there is nothing within the padding that must mean that the (inside) of the outer tube is now the 'real' interference tube design and you possibly can't cover any outside slot. I was surprised at finding the inner interference tube a few years back simply because I'd never been told or read about it in 20+ years of using MKH shotguns! I have no doubt the design will have changed but the difference between the inside and the outside was so significant I have been intrigued (and wanted to pull apart a 416) ever since. If you can't see or feel inside the 416 however (or if the design has radically changed) I would just go with a spot of epoxy and you wouldn't be obscuring anything nor altering the sound. Best, Jez WAIT ! Sorry I understand - I think the 'filling/padding' you're talking about is just a short bung of sponge inside the tube? For 'from the front' basic wind shielding? If so does it look like there is secondary inner tube or is all obscured? We might well have to wait for a (good) Samaritan here with a dead 416 to pull it apart and tell us! I would guess it's just a short bung up front but I wouldn't want to encourage any needless destruction that you're trying to avoid! Go with the smallest amount of tape you can - a few millimetres, obscuring nothing!
  14. The Immoral Mr Teas

    416 end cap

    Bob, I actually just meant a small ring of tape around the barrel at the end. Looking first at the 'real' interference tube inside the barrel making sure not to cover the 'final' hole. This all being based on my experience of the old 805, not a 416: but whatever is inside the latter, do the smallest possible mend making sure to not be obscuring any 'hidden interior' holes/slots/whatever. (Glue of course would obscure nothing inside nor out, but could be somewhat permanent)! J
  15. The Immoral Mr Teas

    Sound Devices Mix Pre-3 and Mix Pre-6

    For this question I would absolutely go to the source and ask SD directly - and then report the answer here Or even better, ask them to respond here - it seems good knowledge for all users to have J