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About nickreich

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  • Birthday January 1

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    I do Sound For Picture and Location Recording - primarily for projects involving Theatre, Live Performance or Live Speaking events. Projects range from full-length films of Theatre and Opera shows, through to EPK/TVC shoots, Documentary and Streaming.
  • Interested in Sound for Picture

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  1. With headsets, always tape the cable to the centre of the neck with surgical tape (I prefer something more flexible like Blenderm to Transpore (called Leukofix here in Australia). Loop the cable a bit from where it comes off the headset to cross the centerline of their neck at a 45 degree angle back towards the side the mic is on, so they can fully turn their head each way without it going tight. Definitely Omnis only unless you have PA feedback issues (and even then the advantage of Cardioids is not as great as you'd imagine). Often headset mic capsules are susceptible to wind noise from the
  2. The fun thing with the old 37MHz Sennheisers was the length of the transmit aerial on the body pack. I did Theatre shows with them back in the day, and with the transmitter in a belt around the performer's hips, we'd run the aerial up and over the shoulder and pin the end to the upper chest through a little rubber band taped to the end of the aerial to keep it tight as they moved!
  3. I've used a rented QL-1 on carts built for specific shoots (both reality shows and Theatre show film shoots shot 'narrative style'). I don't run a permanently built cart as my work is too variable - though my own 01v96 still does the bulk of the work. I'm more than happy to use a QL-1 for these uses - though the 32 channel limitation on the Dante IO is annoying. I also use QL and CL series consoles a lot in the Live Sound work I still do a bit of (though strongly prefer Digico for that). Happy to have a go at answering any questions you might have though.
  4. it bi-directionally copies transport control (and Metadata in one direction) between a Sound Devices 970 recorder (using it's built-in web server) and Boom Recorder software on a mac (being used as a secondary or backup recorder) so you don't have to enter it in both places. They coded it for a Reality Show client and then made it available on the web. I just borrowed the bit that reads play and stop messages from the 970 to Boom Recorder so it makes 'files' in sync - for the purposes of making the 'sound report' as described.
  5. Hi Bouke, Livelog looks interesting - I look forward to trying it. I've been using an iPad app (Logster) for this, but in some setups having something that can run on a Laptop works better, so I've been using Boom Recorder (actually recording one track's files which I may then discard) simply as a LTC Logger / report generator - using a cut-down version of Gotham Sound's applescript to trigger from the SD970s via Pixnet. Yes I did try out "LTC Reader's" video slave mode, it works great but as I already own licences for the software from NLE called "Video Slave" which does a similar
  6. further to this, though I suspect it was sarcastic... I choose Poly vs Mono file capture based on the following: 1) Is the material going to be Posted by someone else (about 50/50 for me) - and if someone else, are they and Audio Mixer or Video editor? Video Editors are more used to Polys nowadays as that's what they'd see from a 'normal' narrative film sound recordist. 2) Are the lengths of the takes going to cause an 'auto-split' in the Poly files (every 7.5min for a 970 recording 64 tracks of 48/24) which is confusing to Editors and in my experience freaks them out more than
  7. I don't delete files from recording SSDs - I treat them like tape. They only get re-formatted when the Project is fully delivered (or on a Reality-type show, when the Data Wrangler has ingested them to multiple storage drives).
  8. Both approaches work. The Drive 3 and Drive 4 ports are eSATAp ports - I have some basic eSATAp to SATA-3 cables so I can plug in 'naked' SSD drives and power them from the 970. Personally, I haven't tried actually recording to an externally powered drive from these ports. As I do mainly long-form Concert recording, I tend to record Mono BWAV files more often than Poly BWAVs, and in that case one can only record to two drives at once anyway. I find that recording to two Caddies in the internal slots creates too much heat for my liking, so if I'm required to record to two drives per machine, I'
  9. Might be more useful if you let us know: 1) the nature of the project itself (film/TV, recording a live performance, is it voice or musical instruments or a whole band, how many sources at once) 2) Where the recording is taking place (Studio or Venue, On Location, travelling around the country) 3) what's going to happen to the audio recording afterwards (pass on to an Editor, you are going to mix it yourself) 4) specifics of the sources to be recorded (eg: two people talking, a singer who also plays Banjo and Mouth Organ) and the expected length of recording sessions.
  10. We do color-matching (painting) of mics all the time in Live Theatre sound - but generally only for lav mics mounted on the head - not so much for "Headset" mics like the 6066. A couple of reasons why: Firstly, the "headset" style mic is always going to be overtly visible, whatever the color (of course, picking a Beige or Black unit to suit the talent is a start). In fact, quite often the choice to use a 'headset boom' style of mic rather than a head-rigged lav is more for the look. Secondly - apart from the metal end of the 6000-series capsule - with the lav mics, the cable of the l
  11. This is great - I'm wondering if there's any chance of an audio back-channel (talkback from remote viewers to Set) - even if restricted to one remote user. Ideally with a momentary 'push to talk' button at the remote end on the browser window. Audio can be lower-resolution than the outgoing channel.
  12. What you are wanting is more complicated than you might first think - but it was very common in the past on larger Theater shows, for example, before the specifically-designed wireless headset systems came on the market - to enable Walkies to be integrated in wired headset party-line comms systems. The problem is on most film sets, the walkies (ie Motorolas) are being used in 'simplex' mode - on one frequency per Channel, and only one can be transmitting at a time. Getting outside audio into such a system is difficult - as you need some way to 'key' the transmitter that the Zoom audio is comin
  13. check out the video on Gotham Sound's youtube channel about the actor spacesuit comms system they supplied for 'Lost In Space' a year or two ago. Most live or theatre sound hire shops in London should have suitable DPA or Voice Technologies or Countryman headsets and the adapters to Sennheiser 3.5mm TRS. All the major brands have adapters and all make 3.5mm ones. Try Autograph Sound or Orbital. Assuming you get proper earpieces intended for IEM use, or the telex plastic eartube type earpieces, you should not get any appreciable spill from IEM to Headset mic. If you try and use 'vented' earpiec
  14. your natural instinct would be right - except for the fact that Sound Devices (either intentionally or not) didn't correctly implement this feature of the Brooklyn II Dante card inside the Scorpio and 970 (and presumably 888) - so even though Dante Controller allows you to tick the 'sync to external' checkbox, it will subsequently throw up regular Dante clocking errors. If they intentionally chose not to support this feature, they could have prevented that checkbox from showing in Dante Controller. Sound Devices has said to another user on the JW FB group where we were discussing this earlier
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