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Everything posted by minister

  1. Not for seasons 1-11 of DDD. I did not do gating, but tasteful NR and the show was rich and full when it left the suite. Scripps has a terrible broadcast chain, and The Food Network in the US pancakes it. After Season 11 (they are now in Season 17), all bets are off. No post audio mixer touches the show. The video editors now simply edit at the end of a sentence and the noise "goes away".
  2. DDD was mixed Seasons 1-11. After that, it is NOT mixed. The current shows sound terrible. But it is NOT the fault of the production crew. The production audio guys are superb. DDD is "mixed" by the video editor. No post FX or Foley, no decent NR or EQ. Bath Crashers is also NOT MIXED.
  3. As Richard said, the AE. That is what I have for my MKH 30/40. More in info here: http://www.reddingaudio.com/rycote-stereo-windshields.php
  4. Waveforms change due to refraction, temperature lapse, temperature inversion, (as well as interior room or outdoor object interaction) and the speed of the sound is dependent on the inertia and elasticity of the medium through which it travels. Warm air, cold air, water, reality. During the day you may not hear those people across the lake, but at night, due to temperature inversion (high above air is cooling, near the ground the air is still warm) you hear them quite clearly. The temperature inversion causes the waveform to bend downward, in other words, change. We record in reality, not in ideals. Several feet, and, yeah, the waveform might be close to the same. Also, one of the tricks in post to make things sound farther away is roll off low end, not high end. So, it's not just high end frequencies that get affected.
  5. Sorry, but this is not correct. Waveforms certainly do change with distance and time. A source sounds quite different when you are 10 feet from the source as opposed to say 150 feet from the source. Also, the 3:1 rule is multi micing multi sources, not ONE source.
  6. Ok, your point may appear reasonable. But think about it further.... Let's say you compensate for the delay dead nuts on. First question: how do you do that with precision with any measurable assuredness? What method? How would you verify? Thinking about it further, assume it is perfect when the 2 Lavs or the Lav and Boom are exactly 5 and 3/4" apart. What happens when one source moves an inch? Now you are running and gunning... The 2 mics are going to be changing relationships constantly. Both angle and distance. What you are proposing is physically impossible. It is also a non-issue.
  7. I work in post. I have never ever looked at whether or not the boom and the LAV were time aligned. Not just because I don't care, it doesn't matter. First of all, it is rare that the 2 channels would ever play together in a mix. In the rare instance when it would -- when ADR was not an option, and I needed 2 actors lines heard -- I would just adjust it so they worked. I have to also ask why you feel the need to do this. The sound emanating from a source is a composite wave. All you are doing with time-aligning is, at best, lining up the fundamental and/or transient. Doesn't make them sound "better". The harmonics and the rest of the frequency content of the source don't stay in synchronous phase, especially when there is room interaction. Look at the waveform from source X in Mic A and chose two points on a sine wave. When you try to look at those same points of source X on Mic B, they will be in a different point of their cycle. This shows that their phase relationship has changed. And will change again. Get the sound right at each mics and call it a shoot. And no, nudging it in your DAW is not phase aligning.
  8. I believe he was making a joke. 1 yellow colored RCA input mean "Composite". And maybe you are looking at that. You'd need to send out the Y or NTSC/PAL output set to composite and get a BNC to RCA adapter. I use a cheapy Digital Prism 7" monitor with a "yellow" in. I had an AJA HD-->SD convertor that I no longer needed in the studio (when HD first came out, we only had one HD monitor and several SD's off of the same system.). It very rare that it is really used. Though, on one shoot, the Director and DP watched the monitor and Producer got to listen to my (good) audio and (crappy) picture. She liked that.
  9. No, Final Cut cannot read TC from an audio file. A nifty program called PluralEyes. Here is a demo on their website for FCP 6&7 http://www.redgiant.com/videos/getting-started/item/337/
  10. We do mostly post, but certainly do a share of production as well. Our last 3 shoots have been 5D or 7D. We use our Dumb slate, but if the subject(s) are not professional talent and/or it is a sensitive subject, the Director or DP may prefer not to. So, we send 1 beep for "rolling" and 2 beeps for "cut", but even that is not necessary. Cameras on our shoots have been stationary, or on a dolly system, so we feed a mixer/camera cable with an adapter and 12' cable with a mini plug on the end off of the 552 and set the 7-pin for mic level. For a second camera, we either use the other sets of outs and set them to line or whatever, or reverse which outs are feeding the camera. We have not needed a wireless feed to the camera yet, but down the road we'll add that as an option when they go SteadyCam. Tough, in one of those cases, we just turned on the microphone and use the clapper slate. PluralEyes is used by the video editor on our recorder files and no problems so far. So, yes, it is pretty straight forward and simple.
  11. I know the guy who mixed the studio track for the backing track. There was absolutely nothing wrong with it. The problem came with the interface of the FOH and SB broadcast crew. Where exactly the problem was, I don't know. The artists were unable to hear very well. Now, whether or not BEP or Fergie have any basic musical talent -- like Paul McCartney or Springsteen or Prince -- well..... Not to my ear. But that's another matter, yet it was revealed how reliant upon the studio for live production some artists have become. Friends of mine played me a recording of Jeff Buckley calling into their radio show (WFMU) and he did a sing along and completely NAILED it over-the-phone. There's one guy who could phone it in and get away with it. Remarkable talent.
  12. Just saw this. Donation sent.
  13. Congratulations, it is an excellent and deep unit. I really like mine. Some other tips and bugaboos not mentioned yet (except for SVEN): Obviously, read the manual cover to cover. It is well done and tells you what you need to know. Turn of the Digital Outputs if you don't need them, it saves on battery life. I also hate SVEN. So, learn the menu options you need to change. (for me, that is very few). You understand SVEN once you get used to it, but there are times if I don't pay attention to what he MIGHT be saying, I lose him. As much as I like Sound Devices bags for the recorders -- well built, good looking, nice extras -- , the one for the 552 + Recorder (CS-5) could be a lot better. I had to put a piece of (Pelica Case) foam in between the recorder and the bag wall. I use mine with a 744T, and, yes, I realize it was made for the 788T, I was told it would be the bag to get. I wish they had a bag for a 744 + 552. I had to get my own velcro to attach to the 744 & the bag. (I know, I know, boo hoo..) If you sit the 744 up to where its face is at the same height as the 552, it is difficult to reach the dials and connectors on the side. To reach the menu dial, I have to go from on top. Same with the headphone volume. Not a deal breaker, but I woud look at another bag if you use your 552 with a recorder to see if it suits you better. Maybe look at the Kortwich bag, I will. (That is, if you plan to bag it.)
  14. Hi JohnPaul, I don't know how big your chargers are, but mine would fit in a guitar FX pedal case. http://www.stompin-ground.com/ http://www.rondomusic.com/pedalcases.html http://www.google.com/products/catalog?q=guitar+pedal+case&hl=en&prmd=ivns&resnum=3&biw=1066&bih=645&um=1&ie=UTF-8&cid=8013718580772933032&ei=caVJTf37KczOgAfQtZkj&sa=X&oi=product_catalog_result&ct=result&resnum=1&ved=0CHgQ8wIwAA# http://www.rolandus.com/products/productdetails.php?ProductId=610
  15. You didn't mention budget. The range is just too wide. As to 87's, they are work horses and are considered by some to be standard. That said, the 87i's are not as good as a vintage 87. And besides, if you really want it to sound it's best then you have to send it to Klaus Heyne (with a 6 mo. wait). So, I'd avoid the 87. And anyway, for that kind of money, you can get something better, the Brauner Phantera. I got an 87 and a Brauner here and there was no contest. http://www.vintageking.com/Brauner-Microphones-Phanthera I have a sneaking suspicion that this is more than you want to spend. The mentioned TLM 170 is a good choice. I personally am not a fan of the TLM 103's (i sold my pair of them), but horses for courses and everyone has their own taste and mics are like eye glasses...... If budget is more of a concern, then definitely look at the RODE mics. I think they make great mics for the money. Slightly brighter mics are the BLUE. I personally do not care for the sound of a 416. Again, my personal opinion. EDIT: Beware, the SM7b's need a LOT of clean, quiet gain. They are dynamic. And, by the way, they do not replace "The Football", aka, The SM5b. The 5 was a better VO mic. The SM7b is a great make Rock vocal mic. Oh, speaking of dynamics, the HEIL mics are definitely worth it. A PR40 would be a dandy VO mic. In the end, the largest influence on the sound of a voice over is the talent themselves. (And the room is also a HUGE influence.)
  16. John, The Super CMIT? Or the regular CMIT. He is talking about the Super one.
  17. Hi Pete, A couple more thoughts. Don't know how you are going to pay for the purchase. Whatever it is, if it is a loan of any kind, remember you have to service that loan. This becomes another part of your overhead. Also, I am sure you find this out by looking at the books, but there are a lot of periodic expenses : phone, internet, security system, electricity (in many cases), general business and liability insurance, unemployment insurance, payroll taxes, as an employer you have to match employee taxes and on and on.... As you grow, so do your expenses and not always your profit. There will be transition and startup costs : lawyer to create the articles of incorporation, the buyout documents, the filing with the state and Federal agencies for your corp. registration and Fed Tax ID. I have heard, and to some extent experienced that it can take at least 5 years to establish a business and make it successful. Anyway, I am prattling on.... It can be done. Others have. Others will. But this is not a take the money and run situation. Good luck in your decision making! As you say, it is all experience, whatever you decide. People learn from mistakes and failures as well as success.
  18. Thanks for the mention Phil. And, well, it is Composer, Post Mixer, and CEO. Peter, I got your e-mail, but don't mind saying a few things publicly here. Of course, you will need a good attorney, a good bail bondsman and a good butcher. Ok, well, an attorney and an accountant and maybe a banker. You also need some other advisor. The Small Business Administration can set you up with someone to consult. They may not know audio post, but they may have some good tips. In your e-mail you mention that you are in SF, but that you want to move to NYC in 2012? That is not enough time for you to establish this business as YOURS! Not a good idea, IMO. Go in with your eyes wide open. Learn to think through the ramifications of each move before you make it. Calculate the risks in a sober way. Here are some other things to consider : this guy you are buying the business from IS the business. You are not buying a McDonald's franchise, or a Ford Truck, or dealing with a large co. where the brand is larger than the owner or operator. I am my company (even though I have 4 full-time and 2 part-time employees). People come to me for what I do. Change that, and well, it isn't worth the same. You need to think on this point very carefully. Looking at his books for the last 5 years tells you something, but will not tell you what happens when client X wants to work with the previous owner and you say, well I am in charge now. They may think, harrumph, I've always wanted to work with Tony over at XYZ Post, now's my chance. This speaks to "valuing" the business. Looking at P&L's, Balance Sheets, trends in the last 5 years and hard assets is not enough to value a business. Sure, i know that there is a suggested % of additional valuation, but, it may, in the end be MORE attached to a person than you want. Also, one slip, and some clients will be out the door. Perhaps they already know you and work with you. But think about how much of an impact he has on his client relations. In some ways, a post facility is a post facility. The difference, as the corporate cliché goes, is the people. (Insert hackneyed and well-worn apothegm about arrows and archers.....................) Imagine if you took over someone's production mixer business. What does that mean? You pay him for his gear? Do you think all these people he works with now would suddenly be comfortable and interested in working with you? Would your clients want to suddenly work with someone you sold your gear to? I can't really speak to the other's anecdotes and recitations of all post houses being absorbed or closed. I am not saying it is wrong, but every market is different. It is different here in Minneapolis, than it is in NYC, LA, Barcelona, London, Toronto, or SF, et cetera. I can only speak from my experience. Whatever success I have had, has come from long hard work, determination, some thought, some wit, some risks, some advice, and a lot of luck! Luck comes in all forms. Lucky to have "some" ability; luck to have my health; luck to have some decent education; luck to have come across jobs and clients such as I have. And so on. The other aspect of my ability to at least make a living doing this, is diversification. I started as a musician, then composer, then sound editor, then mixer. I worked my tail off at EACH of these aspects of the business so that I could become at least as good as made me comfortable doing it. I hate lousy, unprofessional work. I put in looooooooooooooooooong hours becoming better at post. Let's face it, you have to compete. But for me, it was more an internal need primarily. Then I have put in loooooooooooooong hours running the business. And I have put in loooooooooooong hours learning all I can about my chosen profession. There have been HUGE sacrifices. Sacrifices I know many would not take. Do you know how to do Quickbooks, reconcile the bank account, do payroll, not only pay bills, but look to the future, save, and, take risks? And at many turns, are you willing to be gouged in order to get something you feel you need, only to maybe have a chance for it to pay off in 3 or 4 or 5 years? And, maybe even have it not pay off?? You have to become butcher, baker, candle stick maker. What happens when your employee comes to you and says, well, it's 5pm, I have to go, this job isn't finished because I don't know what is wrong with the computer and I have lost the last 2 hours, oh, and it's due tomorrow??? Do you know how to fix it? YOU have to be the IT dept., the TECH department, Purchasing, Management. and on and on. I know how every aspect of my studio works. But sure, I have experts I turn to when it is beyond my ken and abilities. Also, as I said, earlier, diversification can help. I get composing gigs, music mixing gigs, music recording gigs, audio post gigs for TV, for independent film, docs, corporate, we do music library searches, we do work for museums, artists, companies, websites, and on and on. We don't just do post. This has kept me busy through economic ups and downs. Do it if you want to be your own boss. Do it if you have an intense passion to do it. Do it if you desire the experience. There is no ignominy in having it eventually close even though you do your best. Throughout history millions of businesses closed. And many people rose again to be successful. But don't think for a minute that it will be easy, casual, a small commitment, or insanely lucrative. I make a decent living, am able to expand my facilities, upgrade them, and plan for my retirement. At least for now. That may not be true in 5 yrs or 10. Dunno. Been doing this since '91 part-time, then quit my day job in '94. But for 6 years it was REALLY small and I barely eked out a living. You do have a leg up on a lot of people. That facilites are built. You can save money there. There are some clients in place and you have been working there. I came from nothing and am completely self taught. You can't expect to lap up forum posts and really know how to do anything. You have to do it yourself. The forums answer some technical questions, software and hardware questions, and occasionally give you a philosophical perspective. But it doesn't mean squat unless you apply yourself assiduously. In the end, only you know if you have the fire, the guts, the determination, and the wits to do this. It doesn't matter what anyone says here, except what you take from it and what you do with it. Prove everyone wrong by doing it. Or, look at the immense list of post houses that never made it and closed their doors and see the wisdom in choosing not to pursue this. You and you alone have to make the leap of faith. That is, at least, my opinion. Take it for what it is worth.
  19. I have the POWEREX 2700 mAh Rechargeable AA's and the Maha MH-C9000 charger. Initial break-in time for the batteries is 2 days. (Yes, 2 days). After that, I am able to run a SD 552 using all 4 channels with phantom (but the recorder and Digital Outs set to off) for 6 hours in near 0ºF. I did 3 weekends in a row. I have 3 sets of batteries. When I came back, I still had 2 sets fully charged. As to running the Lectro SMQV TX (@ 100mW), I dunno exactly, because it runs mine all day (indoors), 8 hours, with some shutting off for lunch and long camera set-up breaks. Then I take them out and recharge. I have less experience with rechargeables than many of you, but in the many years previous to this, I have only had unimpressive results from rechageables. With the POWEREX, so far so good.
  20. Hi Jeff, Thanks for the response. I don't have a charger for this kind of battery. I only use the Sound Devices. I will do a search on your forum to see what discussions there are about Li-ion battery chargers.
  21. Hey gang, I think one of my Li-ion batetries went dead for my Sound Devices. It is an off-brand NP-F970 battery. I don't remember which one and the battery itself does not say. What happens is you install it into either a SD 702 or 744T and the light on the SD unit blinks for a bit then turns solid indicating that it is fully charged. When I disconnect AC, the unit will not power up. If I turn on unit with AC attached, then pull the AC, unit shuts off. My other 3 batteries work just fine. I am assuming that this is toast and I should just pitch it and get a new one. Anyone one have luck with re-conditioning these kind of batteries? Do people try to salvage these things? Or give them up for dead? Thanks in advance! Tom
  22. Hi all, Just wanted to report on some experience I had with the JK Audio Dapter Two http://www.jkaudio.com/daptor2.htm In the end, it works very well, and is passive so what you put in is what you get out. But a word of caution for those purchasing it. I needed to do a last minute VO at a remote location. It is for a TV show and the EP always is patched in to direct the recording. Talent was at a place where cell phones worked, but, no land line. Easy solution, get a Dapter Two. I ordered it -- and a Real Traps Portable VO Booth -- but early enough so I had some time to make sure it all worked. Product arrived on Tuesday, I left on Friday. Scant documentation with the unit which makes sense because it a simply passive box and hook up is obvious. It comes with a 1/4" TRS to 2.5 MM TRS adapter cord. Problem : doesn't fit my cellphone. My cellphone was about 3yrs. old and I get an upgrade in my plan so off I went to the T-Mobile store. All phones are either Blue Tooth or 3.5 MM headset input. Ok. Get the phone I want, and head off to Radio Shack. Come back to the studio with a 2.5MM Female to 3.5MM Male adapter. It doesn't work. I double check everything. Nothing. I called the company. Was told that they know of only ONE adapter that works with their box. http://www.cellularaccessory.com/apliphonehfa2.html Really? I asked. Tech support said the Radio Shack adapter is not wired correctly. Not being of a DIY mind, and wanting to take apart the RS adapter -- which is tiny to begin with -- I ask, why don't you include adpaters with your product?? Tech support says Cellphones are a moving target. True, but if I buy certain headsets, they come with a bag of 5-10 adapters. Why not just throw in a few. They would be 50 cents to you...... So, I was stuck. Past FedEx time on Tuesday, I had to order on Wednesday a $3.95 adpater and pay 30 bucks for it to be over-nighted so I could know it all worked. (I ordered 3 just to be safe). I looked locally and could not find this adapter. It is a good thing to always acquire new gear, no matter how simple, with days to spare so you can test it. I am glad I did. Unless someone wants to make their own cable, if you buy a Dapter Two, you will have to get this adpater to go into a 3.5MM jack for a current cellphone. Just a heads up.
  23. One that I found recently, and indispensable: http://www.specialized.net/Specialized/Trompeter-BNCTNC-Connector-Removal-Tool-12-477.aspx My soldering iron is a Hakko: http://www.hakkousa.com/detail.asp?CID=49,112&PID=1249&Page=1 Smoooooth, precise, nice.
  24. Legality of material usage is not predicated upon a "stealthy" or "conspicuous" acquisition. It is illegal to use copyrighted material (such as a broadcast, produced music, etc.) without permission regardless of how it was recorded. Stock footage is shot and sold without getting releases from every car and pedestrian. But there are some structures that require permission to use their likeness. Doesn't matter if the camera is out in the open or hidden. Crowd walla is fair use as long as it is legal to record where you are recording it. AFAIK, it is illegal to record in airports (but I could be wrong).
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