Henchman

I'll try that with the transmitter set to -10. See what happens

I'm not sure what that is. But I do have a reel of various scene I'll post here, from one of the days we recorded. I learned that I should not have changed the Output of the transmitter from -10 to 0. As it resulted in an overdriven sound when actors got a little loud. Needed lots of eq, but it worked pretty good. But given the choice of no wireless mics for the songs, or cheap ones, cheap was preferred.

there are 9 different bands according to the manual 30mw: 518-542 572-596 620-670 718-769 20mw 794-806 770-820 10mw 838-865 925-932 740-752

TA3

so, any suggestions on a decnt sounding lav to use with these?

That's the one. And yes, with better mics they'd be awesome.

Done both. They've actually worked very well. It's the lav mics that just arent very good. You could buy it and replace the mics, and still be way less out of pocket. Than buyng something way more expensive.

If you like the clash, come check it out. Check the fringe website for reviews http://www.hollywoodfringe.org/projects/4293 You can get a $10 ticket using the code FRINGE2017 at www.todaytix.com

So, we are in the middle of our Fringe Festival run of "London Calling ". I bought 12 channels of gtd audio UHF wirless mics. It's working fine for most of the 12 man cast. Except I have 3 actors who simply do not project. So, I need to find 3, better, wireless mics for Friday an d Saturday night and Sunday afternoon. Who would have the best rental on this here in LA.

I just went to a bug budget movie,and the dialog sounded like crap througout. But I could tell it was the fault of the re-recording mixer, amd too much rx-noise reduction. Godawful.

Waves is dreadfull, allround.

How dare he retire. More people need proper training.

Thanks guys lots of great info. I would love to hire a professional, however this being a (for now) short run, self funded run, the budget is tight. We're already at $25k. If we get the run extended, then I will be able to hire a pro. For now, I'm using someone who has done theatre sound experience. Nick, I am augmenting the theatres sound system, and will be running the vocals through their sytem, and the music through the augmented system that will consit of a pair of QSC 15's with a sub. The music will be pre-recorded. And I have the advantage that I can use the bug stages where I work to pre-dub the music in an appropriate sized space, at the level I want it to be. It will be quite than a band. Those are out of the price range for now. Maybe when we get it to a bigger stage.

No. Do not process tracks going to post. Period.

Most of you know I'm an audio post guy. Well, now I'm producing the stage premiere of our musical "London Calling" at the Hollyood Fringe Festival in June. I'll be using some wireless lavs that will only be used be used during the songs. How should I mount the radios the actors?

I use the CEDAR on the dubstage. It's the only noise reduction plugin I'll use on Dialog for broadband noise reduction.

Declicking entire regions, and denoising. Both result in boxy sounding dialog wit a loss of presence.

I hope they improve the enature suite. I just had to inform another dialog editor on a show I just started mixing, to stop using it.

As with all of these types of projects, they never show the pricetag. Its like those really nice looking, prefab "green" homes. They seem really attractive, until you find out the average size one starts at around $400-500k. And that's juse for the house, no land.

oops. Yep. My bad.

I have a rolloff at 80hz if there's anything In the bottom that is problematic I will use nothchfilters and parametric eqs to deal with it. But chopping off everything even below a 100hz is a bit much for me. Peter Nelson is giving us great tracks to work with, in spite of the difficulties he has to deal with on set. He's very involved on set, and it shows.

Finally had a chance to watch this. Interesting to see him pretty much start of with tellIng the group he doesnt use the mix track. He pretty much says what I have said. Starts with the boom, and goes to the lav when there's a problem. The only thing I found shocking was at 46 mins, where he says they have a highpass filter at 180-200. That's way too high. That would remove all of the warmth from the dialog.

there are collectives, maybe they could rent an existing theatre location. there's one in Atwater village.

Loved the movie. Much better than that pretentious, boring yawn fest of a turd "Mad Max" And saw the guy with the margaritas. ALso didn't realize it was jimmy buffet.

No. It's my job to make sure the mixer knows what the issues are and what we need. It's not my job to throw someone under the bus on the dub stage.