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  • Location
    Tucson, Arizona
  • About
    Studio owner/engineer. Radio/TV/Film recording/ editing/mixing. Location sound. Commercial music composer.
  • Interested in Sound for Picture

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  1. A little pricey but I've enjoyed the access, even in the field. Removing the outer bag is quick.
  2. One downside is it's not built for the rigors of a bag so I put my DSQD and 822 in a Rack-N-Bag ...
  3. I can't find this. Do DBSM/DBSMD TA5 timecode Jam cables use normal line level wiring?
  4. Hey Karl, thanks to the Lectro team for DSQD which has worked well for me in its first week. Is it possible the 822 will participate in WD scans, alongside say the DSQD, adding to the number of bands and reducing the time to scan?
  5. Wondering if the 633 models work with the new 833. Have you had a chance to check? Ready to buy if it works. -Thanks!
  6. Seems like bad advice to me Jason. Successful wireless involves optimizing a number of interrelated parameters. Your advice might push a marginal rf situation into failure. Get the right antenna.
  7. I liked the grommet idea. Found this at Ace, part #405942-M. I.D. 5/16". Gives you a nice big diameter and still allows push to select.
  8. Yes, mine will output to two LTs. This is my backup/small bag alternative but got to thinking what a nice boom setup.
  9. MixPre-3 seems like a boom op alternative to an MM-1 with backup timecode recorder for $50 more. Just received one and these things are tiny! Impressive little gadget!
  10. Trying to allocate my bag freqs. Here in AZ I've had good success with talent transmitters in the A1 (470-537mhz) block. I currently send com and ref cam feeds on Senn, G band (566-608), usually in the higher freqs. Trying now to wedge an SRc for camera hop in B1 (537-608) fed by Blk. 21 (537-563) or 22 (563-588mhz) transmitters (50-100mw). At least 2 block (50mhz) separation between talent/hops/coms seems to be a good target. Antennas can be separated sometimes but usually they'll live in the bag. Suggestions?
  11. audiofp


    MM-1 Canada Shipping
  12. Since relative mics/mouth positions constantly change, mixing both mics is rarely a good idea as it will result in moving comb filter frequencies- an ugly sound at best. This can't be corrected by moving one track relative to the other in the timeline. Typically, for various reasons, one source will be more appropriate and the other can be feathered in for problems (clothing, distortion, off mic, etc.) On rare occasions I've delegated the two tracks to different frequency bands and been able to use them together. A good quality boom mic and similar sounding lav make it that much easier.
  13. I did a job using the Eumels and it was fine. Not having to change the HMa voltage is one less detail for this tired old brain.
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