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About KGraham045

  • Rank
    Hero Member

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  • Location
    Austin, TX
  • Interested in Sound for Picture
  • About
    I am a location sound mixer located in Austin, TX

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  1. Cosmetic issues are just as important as functional issues. Having gear that looks well taken care of is an important part of running any business and presenting yourself as a professional. Also, think about resale. I take allot of pride in my gear and if I decide to sell a mic that has missing paint and looks beaten up. It’s going to drop the resale price by quite a bit..
  2. Sennheiser USA is where I’ve sent my 8060s in previously
  3. I was told by Sennheiser that they would look at this on a case by case basis. I’m planning on mailing a couple of mine in at a time.
  4. Really good work! It’s a joy to watch!
  5. I watched the whole series. Didn’t notice anything unusual... did notice tons of wires and a bit of ADR. But no distortion.
  6. I have a Pre Rode SPS200. Works great with a Mix Pre 6. Maybe see if the guys at Core Sound can calibrate it and maybe they will find an issue... The Mix Pre 6 used to have weird artifacts at high sample rates... but apparently that has been solved.
  7. I use an 8060 almost daily... and for me the MZF8000 filter is a must... I generally just use a Rycote super softie and in a blimp I use a Rycote WS3... The super softie still give me access to the filter when needed.
  8. While this is cool, I have a couple thoughts... Doesnt an AAF re-render and create new wave files? I try and use EDLs for assembly to have original files... Also, wouldn’t fixing the Mix track be more easily done by using the remix feature? You could have edited the ISO’s for the whole edit in the same amount of time it took to correct the fader movements of one take...
  9. I’ve used the cheap rode DSLR mics. If it’s just for scratch and your going strait to camera it’s pretty strait forward and will get u what you need.
  10. KGraham045

    Camera Hops

    I have a CL3 and 3 RX200s. And I have 2 modded ERX2TCDs I generally just use as lockits. Everything I work on is generally TC synced and if they pay for it I’ll provide a full UHF Stereo Hop. But in general I always provide at least a mono scratch feed and/or TC. And then provide Wavs for post to sync if wanted/needed.
  11. I have 2 416 and 2 8060. The 416s are fine for general foley
  12. If it matches, the re recording mixer wouldn’t have a problem... and you don’t have to destructively add the EQ... Every production is different. But if you have a Cos 11 a 416 and a 50. Your covered on quite a few bases... but Sennheiser, scheops, DPA, Countryman, Sanken are all pretty common choices.
  13. I get that you would want to use the exact same mic as production but it’s still a different signal path. As long as you have some decent options (sounds like you do) you should be able to eq a bit and make the ADR work...
  14. The only issue I have with doing Ambience/SFX with a TRX is that it tops out at 16k. Which isn’t really a issue, but for the price of a TRX743/RX200 combo I ended up getting a 2nd Recorder. Which I find more useful for ambience and SFX capture. With that being said I do own 3 TRX 743 and 3 RX200. And both are great.
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