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James Louis

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About James Louis

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    http://twitter.com/braduro
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    salatspinatra

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    New York City
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    sound
  • Interested in Sound for Picture
    Yes

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  1. HA! No, I'm the weird one. And trying to find the words which won't over-state my claim. If anything, I think the DPs get less "weird", ie. more conservative with their shot choices, if they are monitoring through headphones. In other words, these are terrific on-board mics for following the action. So much so that a camera op can use them as feedback for coverage and blocking. The caveat being that I wonder if certain shooters may be constraining their creative decisions within the frame.
  2. Yes, simple. I would do what you told me to do, boss. I'd only trade out the transmitter, maybe, if I saw the complete bundle sitting on their table or something. But seeing as I would be rewiring them in that case, I'd much rather be handing someone over batteries, checking that the cables felt locked, and forget you having to catch an oversight in your headphones--I'd just confirm that it powered back on (and that the mute switch was disabled).
  3. I've been renting or sharing my indoor options for far too long, but I wouldn't consider a cheap option as a place-saver for a Schoeps. Not even with the mods that I'm seeing. The advice on a used schoeps or the MKH-50 seem like the most responsible directions to take this purchase. I'm inclined towards the MKH-50 as the intermediate career move, despite preferring the uniformity and the end results of the schoeps. Here's my reasoning: By the time I want the Schoeps, I'm going to want a matched pair. There are so many opportunities for double-boom, and it's a remarkable instrument mi
  4. I'll read the doc, but yes, guidelines and treating people with mental and physical space is always a good idea. No reason for a counter-argument here. No one is saying go by duplicate transmitters. If it really came down to it, Freq a second transmitter already in your inventory with fresh batteries to the same one as the last. Grab it off the make-up table after lunch. This round-robin style assigning of channels as you retrieve and then clean incoming transmitters is what could get confusing. So maybe some colored tape? Or maybe sandwich bags labeled with talent's items. It's not a deal-bre
  5. I'll read how you all weighed in, however consider that the latest Izotope RX8 has plug-ins for interpolating sample rates and frequency ranges that have been truncated. This is a cultural observation, I believe, in that podcasts, remote interviews, and other new media have a context for "bad" audio.
  6. Now that would be a welcome trend to become of all this. I'll read the last page of comments to see if this is redundant, but the first narratives I'm getting in are scripted with masks on talent. You know, a sign or commentary of the times, coming of age, so to speak. If that's the case, then asynchronous dialog and ADR, even on closeups and mediums would be very foreseeable. No, I don't see a return to vampire clips. And the boot has done some hideous things to my cables. As for ENG, most on here would not have offered me much professional courtesy back when, but I
  7. Well the Boom Caddy is collapsable, but they are going to weigh about the same. The hexagonal shape might avoid more wobbles, but the base isn't wide enough for using as an apple box. They are both designed to accommodate right angle connectors; K-tek intentionally introduced this along with the Sidekick, which goes one further by freeing up the butt end of a pole when you are using a wireless transmitter. And I didn't mention anything about folks using this for the studio lot. I think there it makes even more sense. I wouldn't use this for on the street day playing. But if you have exter
  8. Tucking my gear away this morning, and thought I'd relay my experiences thus far with the boombox. I don't get as much soundstage work as I do EXT, on-location. When I saw it in the showroom I was a bit on the fence. It's a sturdier piece of wood than something you'd tuck under one arm and yell "wait up guys!" But I came around to it. And the price might throw people off, compared to just buying an apple box. Not to mention, a nesting storage box or something of that nature might be more in the spirit of what you need. All those reservations aside, I picked one up in the spirit of
  9. Hi Coolwing, I think in part you are priming yourself and the responses to be a bit defensive with that lead in. Don't listen to all the swag, pedantic answers, and hazing folks throw about here. You can almost always hone in on folks who just want to address your question. Historically, I think zoom got the most heat with their initial field recorders when their input gain representation had no meaning in reference to line level, but more resembled a mic gain on a commercial camera. Forget how they sounded for a second. You and I can get over that so long as they've since course co
  10. Thanks Chris. Well sure, I was setting aside the other bullet points, but that does confirm my conclusions. The *-button on the MP-6, just for example, might have been a necessary design addition in order to access tracks 5-6, but I could see how this could be an additional selling point. Does anyone know the list of things it can be assigned to? And do you have the option to use it to step through a number of views? Particularly if it could be used to toggle mix levels and input gain with the encoders, that's been raised a number of times on this thread as well. And in a separate compari
  11. So if I understand this correctly, the difference between the two models when running MP-3 and MP-6 with LTC through the aux input comes down to one iso. Is that correct? With the MP-6, you are forfeiting inputs for tracks 5-6, whereas with the MP-3 you still have available the 3rd xlr connector. So it's 4 iso vs 3 in this case. Just for some mental gymnastics, this mic-aux is stereo in both models. You have the option to send LTC to either side. Therefore, with a y-cable wouldn't it be possible to salvage track 5 on the MP-6?
  12. Depending on your industry and it's nefarious customs (and costumes) often starched clothing, including flame retardation on work clothes, much of which is synthetic to boot, will end up being returned by a wardrobe stylist. So the fabric softener back home won't be an option. To treat and mount these materials is part of the craft, and I will respect the tone of the thread thus far; there's plenty of research material here on the boards.
  13. definitely don't start with a butane. But if you are into heroics, like touring, fixing stage malfunctions, or shooting without that country's power adapters, then have at it. You've got a flash of a moment where these heat up and won't burn your circuitry, and if you miss that window you'll have more to toss out. +1 on dewick gauze. Braid. Better to use the cohesive properties of the solder. Those pumps just frustrate the situation in places where you don't have a proper seal. This has been a great thread, now that I just ordered a half-dozen custom cables from pro-sound! Part of tryi
  14. Good snag with those 184's, Bash! So those need to go directly into a digital interface, is that right? How are people using these in the field? And why is Neumann harping on the limitations of the analog signal, in general, if they're still promoting the "A" counterpart to these series? We're just talking "on paper", but for those hearing the base roll-off on the 185's, have you noticed how closely the 184's correlates to the CMC6 MK41 combination? Then you look at the polar pattern, and the off-axis attenuation clearly is a trade-off with the two patterns. Which do you think is a be
  15. Tom, or anyone with the new tascam line of recorders: have you noticed if the digital input level adjustment knobs have more precise dialing than on the original dr-60d? What about the updated dr-60d-did that improve things on this matter? With a field mixer in front of this, I found that for all practical purposes I couldn't calibrate it. Furthermore, the knobs protrude, and short of the input gain levels being a menu-based adjustment, there really is no way to tape them off. Even popping off the caps will change the values that you may have spent 5-10 minutes of crucial set-up time tryin
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