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The Immoral Mr Teas

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Everything posted by The Immoral Mr Teas

  1. Helium ... the new lithium? Several of my friends are in the medical profession (several more recently forcibly retired from same) and would be up in arms at an additional drain (on the non-medical use of) this resource! Still, better than asbestos curtains
  2. Hey Karl, thanks for these too! Perfect for some future bag looms. Jez
  3. What capsules are you using (MK4, MK41?) and where are you putting (or hiding) the mic - up above? It's not the kind of thing I've done much (since I'm post) but when I have planted directional mics in cars for dialogue they've been low where they are hidden / out of shot, and up above I've used omnis, typically DPA4060s, which can be hidden away, windshielded compactly if need be, and are much less susceptible to wind / air streams (and thus probably more rescuable if need be in post). If you're married to the director and related to the production designer you might consider rigging 'left - right' character mics into furry dangling dice?! Good to hear if this was ever done before! Jez
  4. Sorry Dan, you were one cent off so you didn't get the free one. The good news is that SD is offering a second sweepstake for the post Brexit UK price, which could be ### anything! But we have to guess the currency we'll be using by June/July too.
  5. I have many mics, but my TWO basic pairs are 2x 8040s and 2x DPA 4060s (actually more than 2 but statistically so for common use). I highly recommend the Sennheisers for sound, noise floor, size and durability, so I wouldn't hesitate to suggest them: a slightly tighter pickup pattern than some cardioids but that can be a good thing too as long as you know it's there. But I would also always suggest the DPAs as essential kit for SFX (or probably the new 6060s for the size and waterproof benefit). If nothing else, I would attempt to find a pair of used 4060s as an option as well as the 8040s: you will soon find out how often you reach for them - cars, rain, daft spaces, fast or discrete use. Best, Jez Adamson
  6. Hi Oleg, the first thing I would do is open the lid and check if the speaker is wired up: it may simply have been (deliberately?) disconnected. Apart from that I would maybe ask who is about in Australia who might have experience servicing these things! Good luck! PS, If you haven't already done so take a look at 'Images of Interest' here on JW for the lengthy Nagra Stories thread started a while ago by J Bond: a treat for Nagra enthusiasts. Jez
  7. I would add 100 just for the "Made In France" ! Only just looked back and noticed that, although it was pointed out. Priceless even?
  8. I wish I'd been at that one, sounds entertaining. One example of his work is the Bogdanovich film of Paul Theroux's "Saint Jack", a cast and crew who's who, including producer Roger Corman and exec producer Hugh Hefner. There was some real quality stock under that wife's bed. Jez
  9. Very sad to hear. I also just knew him from here and probably RAMPS. Always helpful, always a delight. Thank you Simon for your own write up: hopefully we'll get to hear some of the vintage (tho' seems odd still to me to refer to the 80s as vintage!) stories or memories over the coming months. RIP Malcolm! Jez Adamson
  10. Here's golden opportunity to not bother telling an entire joke but just give the punchline. The punchline is; "Hong Kong, really? ... Is it true you can't buy a Stottie Cake in Manchester?" To the original poster, BGood; I realise I'm the least qualified to suggest this (as The Immoral Mr Teas - and I'm certain any Immorals won't help much in getting anyone a teaching position) but telling us your name, your experience, credits etc might just help a little for us to know how to help you. Like Simon, I presume it may be a family or marital situation that preempts such a move: myself, as someone who has lived and worked in Europe throughout my career and now expect a chaotic and calamitous future, the UK would be the last on my wish list as a move. Education might be less affected by the current shitstorm but I frankly doubt it. Most of the folks here, including myself, operate in the London area. I come from north of Yorkshire so know the cities fairly well, although I don't work there (nor do production sound recording, nor teach - I'm post) so I'm sure if you tell us a little more about yourself and ask some specific questions someone will be well placed to help out. All the best, and good luck, Jez Adamson
  11. 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
  12. 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
  13. 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
  14. 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
  15. 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
  16. 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.
  17. 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
  18. Sums it all up, doesn't it?! Used Klark Technik, etc years before I heard of Behringer, Zoom ... ! J
  19. 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
  20. 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
  21. 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
  22. 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!
  23. 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
  24. 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
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