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PMC

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Posts posted by PMC

  1. Boy o boy. Circa 1975 Koss Phase II headphones with adjustable near/far expander/comparator. The adjustable spacial experience was neato and far more comfortable than other isolation type headphones.

     

    I still have them, as pictured below. I listen with them maybe once a year to relive the experience of the mid 70's.

     

    And yes, the earpads were originally filled with fluid that would leak down your cheek. With the third replacement I found air filled cushions thank goodness.

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  2. Yup, JonG. I am a witness to that.

     

    Plus, in my early days of being a freelancer I had, on a couple of occasions, LA producers try to get my rate down only to find out that they were using me to drive the LA guy's rate down, who they really wanted to use. I played that game only twice until I wised up.

     

    I found out because I ended up day playing as an electrician on one of those gigs.

  3. Tourtalot,

    I didn't take it that way. We are all friends here. Helping each other. I learn new things here frequently. I really appreciate the real world test of gear.

     

    Philip,

    I hear this a couple times each year, "No sennhieser wireless." LOL. I guess some producers have been burned by lack of range. I doubt they can hear the compander. BUT Sennheisers certainly don't pass the jingling key chain test.

  4. Tourtalot,

    I think I get you. I don't work in LA or NY. I work mainly in the Midwest 5-state area for producers from all over the world so while I typically get over a $1,100/day for what I call a basic package, plus expenses, I would expect more in LA and NY. I live where you can buy a 1600 sq.ft. ranch house on a double lot for $220,000. Where your kids can ride their bike all over town and not fear that they are going to be shot. 

     

    I moved here from Illinois for the quality of life.

     

    The Doc Sound Guy,

    I don't list the brand or model on the invoice I hand the client but they are visible to me in QuickBooks. Then linked to a spreadsheet where I can see the ROI.

     

     

  5. My less sophisticated gear still functions as it did many years ago; senny G2 and G3 wireless, clunky big TC boxes, beta snake instead of wireless hops, etc. I didn't buy lesser gear to have a lower tear. They simply became the lower tear as I graduated into professional level gear (I don't have top of the line Zax or the latest Lectro or an SD888). Plus the client is still getting my expertise as a location sound mixer, electronics technician with meters and a solder gun (that is what I went to collage for) or second camera op with camera.

     

    The rental of the old stuff facilitated the purchase of the new. I have never taken out a bank loan to purchase gear or work vehicles. That goes for my three cameras, drone, many lights, LiveU, my 1.5-ton Ram Promaster G&E van package, mixers, mics, etc. I paid cash for it all from the income as I grew my business and made purchases within my means.  Other business models work for other people. My way isn't brilliant or the only way. 

     

    I simply like offering producers different levels of investment to hopefully meet their budget constraints.

     

    As a business owner, I need to educate my client what their hiring of me and my gear will offer them over hiring someone less expensive with less experience or lesser gear. 

     

    Too many times I have heard, "It's just sound. I don't have a lot of money for you." Or, "If those are your rates, I might as well bring my sound person with me." I say, "Yes, you should bring your sound person with you." This is the only way we are going to raise our non-union rates plus we have to pay for those soddingly expensive wireless mics. Have I mentioned how disproportionally expensive wireless mics are? I think maybe I have.

     

     

    The Doc Sound Guy,

    Yes, I offer discounts to multi-day shoots and worthy causes but I don't like "throwing things in." Not that you do. 

     

    I itemize everything so the client sees the value and depth of gear that I am using on their project. Then I apply a discount if i so choose.  When I have my vehicle serviced I want to see an itemized estimate and invoice. An invoice simply stating $xxx.xx labor and $xxx.xx parts would be completely unacceptable to me.

  6. Tourtalot,

    I charge an Iowa producer the same as I charge an LA producer. Plus labor portal to portal and mileage. A boom mic costs me the same $ no matter where I use it or for whom I use it. If a low budget producer can't afford my good super cardioid booms then I can offer them my 30 year old Senny ME-80. It was an entry level shotgun but still sounds better than the newer ME-66.

     

    I offer different levels of gear for different budgets. I charge more for newer and more expensive gear. Except those darn expensive wireless mics. Here in Iowa I can't break the $50ea. ceiling. I have to factor in ROI and what the market can bare in my charges. 

     

    I frequently see job postings on Mandy and Staff Me Up with ridiculously low rates and 12hr days from LA and NY producers for national cable shows. When these shows call me and tell me they work 12hr days I say that's fine. It's my 10hr rate plus 2hrs of OT. Some balk at that some don't. If I am working for a signatory it is an 8hr day plus OT because I am union.

     

    I really don't like to turn producers down and I truly understand that they can only spend what is in the budget (unlike our federal government) but when a producer tells me they only have $900/day for 12hr labor, 4 lavs, boom, comteks, etc., I tell them they have called the wrong guy and I need to get back to waxing my boat.

    Labor rates fluctuate, of course, based on whether it is a non-union or union job.

     

    Dalton,

    $100 per camera? I don't get your drift. I am happy with my gear rates except for wireless lavs, as mentioned before. All my gear is paid off and continues to realize a free and clear income along with allowing me to replace the fiddly bits that break off. This happens more and more as I get... as the gear gets older.

  7. Absolutely charge for your TC lock boxes. It's fine to offer a package discount for multi-day shoots but we have to make a reasonable ROI of our gear or it doesn't make sense to be in business. Some people think they have to offer the gear (free) just to get the job. That is not good business sense IMO.

     

    Charge for every piece of gear and reflect it on your invoice so you can keep track of what gear is paying for itself and what gear was a poor investment. It also educates the client on real costs in case you offer a muti-day discount. 

     

    All of my purchases in the past 15 years have paid for themselves in the first year of ownership except for very expensive mics and a camera comms system. That includes, cameras, lights, mixers. I don't buy the Cadillac level of gear and I sometimes buy used because it makes sense for my market and my business. 

     

    I charge $50/day for my Denecke TC Slate. It is 22 years old and still works great. I charge $20/day for each Tentacle and $30 for Denecke Tri-level.

     

    Wait, I lied. I don't charge for cables, lol, but I figure they are part of the piece of gear.

     

    Perform a ROI analysis of your gear. Charge at least 5% of the replacement cost for your rental cost. This works for me on everything except those darn expensive wireless mics.

     

     

  8. I was told this from Lectro service manager,

     

    "Hello Kent,
     
    The silver paste is only for use on the threads of the SM-style battery doors – do not use it, or any other chemical, inside the battery compartment. It could be that the internal battery contacts have gotten pressed down some. It may need service.  Let me know if you have any questions or need anything else.
     
    Best Regards"

  9. Well, the battery tabs are just bent bits of brass or copper at the inaccessible end. Not gold. And no spring. The battery door side contacts are just shinny metal.

     

    I cleaned all contacts with a cotton swab dipped in tuner cleaner. Then used an eraser head. Then more cleaner. Then I pulled up the contact on the right (in thie pic) a bit with a hooked paper clip but the left contact is captured behind a plastic retaining ring that prevented me from pulling that up.

     

    I reassembled the battery door and the battery contact failure rate is less now. Still not solid but better.

     

    Thanks again

    Kent

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    20230908_173729.jpg

  10. Hello, all. I can't seem to find this topic on the forum which is odd because I am told this is a known issue. 

     

    I bought a used HME xmtr from a dealer a year ago and haven't used it a great deal until now and I am discovering that if I just tap the plugon xmtr in a tabletop it looses power. I have to open the battery door and close it and then it powers back on. I can also wack my palm against it and get it come back on sometimes too.

     

    I have tried alkaline and rechargable cells. Same thing. I perceive nothing loose inside the battery compartment.

     

    Please direct me to a thread that tells me how to fix this or just tell me how to fix it. Do I bend a battery tab? Do i stuff a foreign object in there? Thanks.

     

    Kent

  11. Michael, 

    Com'on, man. We have to give up all those words too? Lol.

     

    I remember as an early teen using the word "bloody" at the dinner table after watching this new import show called "Monty Python." My dad,  WWII vet told me not to use that language. What, I says? He said the Brits he fought with used it like Yanks (Yankee derives from the expression Jan Kaas, literally "John Cheese.") used the "F" word. I almost said, "bugger that."

     

    One more interrogative, back in the 80's I used to drive past a big sod farm. I thought their slogan should have been Quint Cities Sod - For All Your Sodding Needs.

     

    OP, sorry. I seem to have straied a bit. These things happen when they let me out of the edit suite.

  12. IronFilm,

    If you were coming of age in the 70's, even the early 80's, this term would be a big red flag for not being germane or professional. If not, then maybe no risqué intention. Attitudes and meanings change a lot over time. I remember when " he is bad" meant he was not good. Now "he bad" means he is awesome.

     

    Than again I remember using phrases like "jipped" "off the reservation" "chinese fire drill", etc frequently many years ago without regard to their disperagement of ethnic groups.

     

     

  13. The US Department of Labor said due to strike activity motion picture and sound recording jobs dropped by 17,000.

     

    And now...
    "Per 'Deadline', SAG-AFTRA’s board has unanimously voted to authorize a strike in case its upcoming bargaining meeting with the games industry falls through. The voting process will take place from Tuesday, September 5 and last all the way to Monday, September 25. According to the outlet, the negotiation will include companies such as Activision, EA, Insomniac Games, and WB Games. SAG-AFTRA is aiming to secure protections against AI and wage increases of 11% retroactively."
     

    I understand the fight and we shouldn't be required to give up our "likeness" of any kind without compensation. It will take a lot of gains in a new contract to make up for these lost wages.

  14. Ha, yes I mic'ed a dog once for a Purina Puppy Chow commercial. Director wanted the food chomping sounds. I said how about a take without the camera rolling just for me and my boom when the scene is finished. He said we dont have the time. Lav the dog. I hesitated... and mic'ed the dog. I have no idea if it was used. Never saw the commercial.

     

    Also, I end up mic'ing crickets, cicadas, owls, etc. without even trying. Well, they make it on the track anyway.

     

  15. Philip, 

    Yes, too many "lav everyone" jobs in resent years. I get that mindset for reality shows but not narratives. I have seen a couple dramatic TV shows in the past year in which the actor's exterior location performance sound (whispering) is so pristine and doesn't vary with camera distance that it is totally distracting. Completely unnatural. I dont think it was ADR'ed. I am sure the post sound guy/gal was very pleased with his/her accomplishment but I sure think it was 100% captured with lavs and very sterile sounding.

     

    A good boom person and proper mix, IMO,  makes for a far more pleasing and natural dialog track.

     

    I say this as the UPM says, "Hey, I can save $600/day if I cut the boom op."

  16. https://www.pinknoise-systems.eu/post/relacart-pm-320r-stereo-in-ear-receiver-overview.html

     

    The new Relacart PM-320R is an excellent new option for those looking to run some cheaper IEM receivers with their existing Sennheiser transmitters. Up until now a popular option to achieve this has been the LD Systems receivers, however these do have their limitations, especially regarding frequency compatibility in the GB band. Currently the LD Systems only have 2MHz of crossover with the GB band (606-608Mhz), causing a lot of people to choose the band E option. This obviously isn’t ideal if you are already running transmitters in GB band. A few customers have also been slightly put off by the plastic construction of the LD Systems.

     

    No personal experience.

    Relacart PM-320R! First and foremost, we’ve partnered with Relacart to have these IEM units custom-tuned to the exact same frequency bands as the Sennheiser transmitters, currently stocking band GB (606-648Mhz), B (626-668MHz) and E (823-865MHz). This is excellent news for everyone as you don’t need to compromise with 2MHz crossover or having to buy a separate transmitter on a completely different frequency band.

     

    The build quality of the units should instil a bit more confidence as they are mostly made up of a single piece aluminium shell, with solid buttons/knobs and whips that feel like they should last.

  17. I remember a Frank Zappa interview from many years ago in which he was asked about using the new Mellotron and synthesizers to emulate an orchestral sound in his work. This was during his fight with local government and Studios who were pushing restrictions on home studios with zoning laws.

     

    He said the new tech was creatively freeing and didn't require union breaks.

     

    Production and Post workflows will definitely change and actors will strike to restrict the cloning/reproduction of their performances. Oh wait, they are.

  18. I just completed revisions on 21 five minute interactive muliimedia training modules for one of my clients. Three years ago I hired four voice artists for the original project. 

     

    Re-voicing all the changes plus recording time would have cost around $3k. I did it with a high quality real-time AI voicing website for $50. Plus my editing time. I can't tell you how much of it was actually AI vs HQ voice synthesis. The term AI is often misused.

     

    I could change gender, ethnicity, timbre, speed, emphasis, pause length, etc all on the website interface. Then tweak the .wav export in Adobe Audition for timing to video and gfx.

     

    There was a learning curve to get the voice synthesis to pronounce some technical terms correctly but not as bad as when I used to use the Votrox SC-01 voice synthesizer when designing games for the Tandy TRS80 and CoCo Computers in the 80's.

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