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About lazajamsonic

  • Birthday 07/18/1987

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    Various production and post audio roles based in Toronto, Ontario, Canada.
  • Interested in Sound for Picture

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  1. Thanks Paul, yes I could have been clearer in my request above - I will elaborate! This link shows the specific style I am after... (except not an AC cord, obviously). An enclosed retractable reel, but with a plain centre section where I can install two 'surface mount' BNC connections. Where does one buy such a thing? https://www.amazon.ca/Woods-2801-Power-Extension-25-Foot/dp/B000GAS3A8?ref_=Oct_s9_apbd_omwf_hd_bw_bAbXRAR&pf_rd_r=1MM3D6YBA3JAPB8TWBV8&pf_rd_p=c424f636-186f-52e9-a942-15f2f915a80f&pf_rd_s=merchandised-search-10&pf_rd_t=BROWSE&pf_rd_i=9716022011
  2. Curious if anyone can recommend a good source for a coax cable wind up ‘reel’, hand crank style. Have searched all over and haven’t found a winner yet. Worked with a mixer who has had a couple of these, 2-pair loomed coax reels at 75’~ length, from Silent Sound in Toronto. They are too busy to build one for me lately so I want to try and get it built elsewhere/ DIY! This thread is super helpful to decide what cable to use, thanks @Johnny Karlssonfor that link!
  3. Thank you @jbuerjesfor posting this, will be running a PDR through its paces in cold weather for an upcoming shoot and these runtimes are super helpful.
  4. @Sound Grab 's recommendation is spot on, the Neutrik TOP connector looks like your best bet for quality. https://www.neutrik.com/en/neutrik/products/xlr-connectors/xlr-chassis-connectors/top-series What is your mic setup like for the field recordings?? You might consider getting a 5-pin XLR cable out of your mic setup, to reduce the number of connectors you have to handle and build into your waterproof recorder box.
  5. Spent 2 days in the Dakota Tavern for a web series, a fixture in Toronto’s music scene.
  6. Love reading this admiration for the 7 series!! I totally agree, it is well deserved because they do sound that good! My 442 + 744t that I enjoyed working with for years has been sitting on the shelf mostly since I started working with my 688 as my main bag. Occasionally, i’ll find opportunities to bring the 744t out as a smaller (somewhat lighter) rig to travel with. But more frequently over the past couple years, when it’s a win-win, I find I’m trading my 688 out for a 633 with friends who need the firepower for their jobs. As far as tips and tricks with a 744t, maybe kind of an obvious one but - the only thing I’d like to mention is that the unit can function decently on its own without the 442 in front of it, **if, say on a one man band over the shoulder job without crazy dynamic/ more critical adjustments** because you can ride the input trim of inputs 3&4 via the ‘digital gain’ within the menu. The 302 + 744T mixer was also a very popular combination to keep the weight down, for the ability to mix down wireless to tracks 2-4.
  7. Thanks for sharing your notes on this issue, all. Agreed, it is a shame DPA don't have a presence here. We are certainly fortunate to have active members like Larry and Philippe, though. I have contacted DPA about the same problem with noise when used with my Lectrosonics HMa at ph48v setting, but I have been reluctant to send my C pre amp to Denmark as it seems this RF noise is STILL an issue even with new units out of the factory.. and there may be less costly workarounds that will allow me to keep the mic in action here, instead of shipping it out for service. Definitely encouraging to try it out at 15v supplied by the HMa, it's almost clean.. I would be very interested to hear about your results with the triple choke filter in the XLRF, Phillippe and Constantin. Maybe I could replicate your filter.. or I'd happily offer to test one of yours out too!
  8. Thanks jawharp Joe, and Richard for sharing your antenna mast planning and setups. A nylon flex tubing snake of loomed antenna cables looks like a very clean and elegant solution, in lieu of the elusive internally cabled antenna mast...
  9. Badass design, Mr. Hope! So interesting how our vehicles of choice can be key determinants in cart design, as well as the kind of terrain you're in, in terms of how we intend to transport our gear for the majority of the work.
  10. Rado, curious if you ever posted pictures of your internally cabled antenna mast anywhere? I'm searching around the forum for inspiration, looking to do a similar build to yours, I think. I have a spare K-tek Aluminum boom pole and will be getting a K-tek KAMT mast bar for 2x LPDA's or dipoles, plus a Comtek Mini Mite 1/2 wave antenna to the cold shoe mount. Plan to attach this to my PSC EuroCart, maybe with an Ambient Quick release at the top to pop the KAMT mast on and off for easy transport with my station wagon. How are you finding the cable management at the bottom of the pole with those 3 runs of 50ohm inside the mast?
  11. Studio Ekonomik are a very helpful rental shop in Montreal. Free ground shipping for orders/rentals over $200cad. http://www.economik.com/ I'm operating Lectro wideband A, blocks 22 + 23 and typically haven't found those blocks too congested to work in, between Toronto and my limited time around Montreal.
  12. Working on a music video playback setup where I have printed 5minutes of LTC audio from http://elteesee.pehrhovey.net/ in Pro Tools to the Right channel, married it with a mono version of the song on the Left channel. The LTC file downloaded is very hot, peaking at around -6dBfs, I left both that file and the song’s clip gains untouched, bounced them out together (with 2 pop + 2 bar count-in). Loaded the outputs into my 688 (not ideal for playback as it doesn’t like metadata of files it hasn’t created itself - so no Wave Agent allowed *grumbles*), routed the R channel LTC output to hit only my Comtek BST-75-216 transmitter (at full Tx power), adjusted input gain to land a little over unity on its meter, and had very mixed results with my Denecke TS-C reading the LTC from the Comtek PR-216 receiver (via 1/8” to 1/4” cable). Tried just about every combination of gain staging possible, and the most stable results with the slate seemed to be with the receiver at its max output volume. Ultimately, the solution I am going with is to cable the LTC into the slate because it’s stable.. but I wonder, if this thread may be revived yet again, what could I do between the Pro Tools environment to the music video set to make audio LTC over wireless more stable? (with either Comtek or Sennheisser G3). I figure it has everything to do with the gain staging and, as mentioned earlier, the square wave being rounded off in transmission.
  13. iPhone 6 user for 4-5 years, been dealing with an iOS update that has severely crippled my GPS performance. Currently at V12.2. Waze says no gps... Google Maps seems to function almost as normal, but acts very sketchy - resets my position/route often. Have tried many recommended GPS reset techniques but no real reliable improvement. Perhaps related to /the root of the problem, I have noticed apps and safari pages reloading more and more often, like the cache/memory is too taxed. Maybe it’s thanks in part to all the hours I’ve left the phone on with Wingman open while recording! Battery health is shot to shit so now I gotta weigh out buying just a new battery orrr a whole new phone.
  14. Can't speak to the wideband filtering, but that's a really good point, I'm interested to hear if anyone else has experience with block 941 too. Coming up on 2 years of experience with my 688 + SL-6 combo, and I haven't had any issues with overloading input limiters from SL-6 sources. I typically leave my Lectro SRC + 2x SRB's output level at -6, which, with the SR's built in tone generator on, I line that up to 0 on the input level meters with 1-6 input trims at -12db (9-10 o'clock), about the same for inputs 7-12 hovering between -12/-11 db. This has been the gain staging that works for me, but would totally welcome any other 688 + SL-6 users thoughts on gain staging. It's worth mentioning, of course, that your average input source material levels > transmitter gains will vary from job to job, dramatic dialogue swings scene to scene, but this is my nominal starting point on the receiving end. Just as reference on overloading inputs, last summer I traded my 688 out for a few months with a friend's 633 to do a run and gun show edu-tainment series, and early on, I got caught a couple times peaking out the inputs 4-6 line level limiters with similar gain staging. I think I bumped the SR out levels down to -10 to adjust for this and that worked better, might have pulled my TX gains down a bit on average, as needed. *edit* 633 user friend recommends SR output levels up at +5, with 633 inputs set to line level.
  15. Naga, thanks for sharing this glimmer of hope. Unfortunate to see so many mixers having this issue with the MMP-C! I have been working around my MMP-C preamp's 20db~ of steady low end noise in my signal when paired with a Lectro HMa. The phantom power voltage issue seems the most likely source - though it is interesting to hear yours and Ben's noise was a higher pitch 'dusty vinyl' noise in the signal.. wonder why the difference? This other thread was recommended to me by Gavin Marsh, in which wiring in an 'RF choke' on the header cable between Lectro boom transmitter and the mic has shown some promise to reduce the noise. May be useful, if you haven't explored this yet. I intended to try this before exchanging my C pre-amp with my DPA dealer (for the 2nd time)... Will post an update here if/when I get around to trying it.
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