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Derek H

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Everything posted by Derek H

  1. Curley, Is that a new-model vdb or old? If new, do you find that the collars are absolutely useless? Or am I the only one? Great idea btw, I usually use a velcro loop but using it to 'holster' the pole is usually a two hand operation and a noisy one. I use a portabrace rig but maybe I can come up with something.. -d
  2. Thanks for voting! Other threads discussing this topic: on jwsound:http://www.jwsound.net/SMF/index.php?topic=3646.0 and on RAMPS:http://groups.google.com/group/rec.arts.movies.production.sound/browse_thread/thread/2c651ff19e70e022/a516316515adfcbc?lnk=raot#a516316515adfcbc
  3. I've cross-listed this topic on Ramps, where there is a lot of active discussion----> http://groups.google.com/group/rec.arts.movies.production.sound/browse_thread/thread/2c651ff19e70e022?tvc=2&fwc=2 To Philip and Jeff: Thanks for your replies. Jeff it's good to hear that I'm not the only one that hasn't found a clear answer to this question!
  4. I'll be making some new cable soon, particularly short jumpers for use in mic-to-boom, boom-to mixer connections and want to see if I can find a consensus on the best way to do solder these up. Obviously pin1-ground, pin2-hot, pin3-reverse, but I wanted to see where you all stand on the more optional connection of pin1(cable shield) to the XLR shell lug, as well as the idea of using ferrite beads and capacitors to soak up extra RF/EMI. If anyone has been implementing these kinds of "extras" into their audio cable with success I'd love to hear about it. I've heard many opinions and positions on these oft-overlooked details. Some people firmly believe that the shell should never be connected (to avoid ground loops), whereas some seem to believe that connecting the shell provides a more complete level of shielding (both Ron of PSC, and Jon Tatooles of SD were in this camp). One tech I talked to (an amp designer) thought that the ideal situation would be to connect the ground to shell but use caps and ferrite beads to ward off any ground loops that you may encounter. I get the feeling that the answer depends on the purpose of the cable as well as the connected equipment's relationship to mains ground. eg.. maybe a mic jumper should be fully shielded, whereas a 100' cable operating at line-level used for patching one panel mixer to another on AC should not have a link to the shell (ground issues)... ?? For my purposes, all of this cable will live in an OTS rig powered by batteries 99% of the time, and occasionally tethered to cameras that may be plugged into AC about 5% of the time... if that helps btw, I'll be using L-4E6S as well as some cloth Neumann hose (for shock-mount jumpers), and standard (silver-colored) Neutrik NC3FX/MX parts. Thanks, -d
  5. I'm new to the reality world but I agree it seems that a lot of producers in reality tv are hoping to make gold with nothing.. PA's become AC's, van drivers become grips (but are still paid a PA wage).. etc.. One of the shows I mixed on recently was trying to get by with 1 sound mixer for every 2 cameras! In some situations this worked ok (never great) but inevitably they would end up trying to shoot two separate scenes/conversations simultaneously with only one mixer.. When post reported back that the audio wasn't working they looked to me and the other mixer for an answer and solution. We told them they needed to do one of two things; hire more mixers, or use multitrack recorders and iso all the mics. Of course they took the cheaper option and rented 2 devas. The bags went from 35 to almost 50 llbs and the work load was still too much for our 2 man staff... and with the amount of havoc that dual-system audio caused in post (dealing with hvx drift and hour long rolls) it probably would have been cheaper to hire more mixers from the get go... It just seems like the growing trend is to try to do much more with less than ever and when problems crop up the solution is to throw more equipment in the mix without the staff to utilize it... good grief!
  6. I say stick to the plan... There has been enough psa about the switch to digital. I mean it's 2009 now, if we can't have flying cars then at least digital TV... -Besides even if a significant number of people will be affected by the switch (folks still employing the rabbit ears) would it really kill us to be without TV for a few weeks? Could make for an interesting social experiment if you ask me.
  7. Just bought a set of Sennheiser wireless from the Wexler ebay sale. Something that struck me as odd when I received them was that the antennas for the Blue range receivers 584-607MHz have about a 1/2" difference in length. I know that antenna length is important but is the half inch difference something to worry about or maybe there is a reason for the difference? Anyone with info on proper length for sennheiser wireless units ek3041 and sk50 I'd love to know.. I also have 'green' units. Also, should the transmitter antenna length be the same as the Rx length? Thanks for the help! -d
  8. Aspirin. I go with Tylenol (acetaminophen) as I've heard aspirin products are ototoxic and can cause hearing loss in the long term. I do agree that some kind of pain reliever is an essential item in the aux cart, or run bag.
  9. Thanks guys! Thanks Mike for the freqs. I'll be listening for channel bleed.. Thinking maybe I'll throw the alphamix in the bag just in case it's intolerably bad. Not sure if Wexler would have a feasible 5ch mixer upgrade beyond the X5, maybe I'll give them a call today. -d
  10. Thanks for the heads up. Unfortunately the production won't allow for a better mixer. Thinking of bringing my Alphamix but hate to bring gear just to save my butt when they're not paying for it... As far as the freqs go.. a jsforum member graciously informed me (via email) that the answer to my question is probably on the Sennheiser website... Well, I can't find a thing about colored frequency blocks on there. Sennheiser is pretty stingy when it comes to it's tech docs. -d
  11. and now that I think of it.. what are the 16 freqs the sk50 provides? Does this depend on "color" as well?
  12. Going to be using a bunch of 3041/sk50 (wexler reality package) radios pretty soon and I'm told they're all in the "yellow" frequency range. Can someone tell me what range this is in MHz so I can start coordinating. Thanks. I've never used the higher end sennheiser radio mics before... any tips/tricks I can employ or pitfalls to avoid with them? cheers, -d
  13. So if the power difference is negligible then what are some other pros/cons of using the LMa over the UM for sending to an SR? I've checked the specs and it seems they're practically the same transmitter. Anyone have any field experience using the LM for camera hop? Does it really cost twice as much to guarantee 100mW?
  14. Ron, What do you mean by different grounding scheme in the vdb? Jason, I don't think the monitor return was the issue because I remember hearing the noise when listening to the mixer directly as well. Thanks, I've had a lot of great suggestions regarding this problem, and thanks to all who responded, here and also on RAMPS but I'm getting the feeling that the only real way to shed some light on it is to head back out to the same spot with the same gear, as well as backup gear and cables with different soldering configs and just go through the signal flow piece by piece until i find the culprit... not exactly my ideal Sunday afternoon but maybe worth the trouble.
  15. Hello, I've got an audio puzzler for you here; (I've cross-posted this in RAMPS as well) Been surfing this board the past couple days gathering all kinds of useful tidbits and came across one discussion (regarding XLR wiring; specifically, the pros and cons of connecting pin1 to the XLR shell) that sparked my curiosity about a problem I had earlier this year. I was bag mixing for a doc and we're setting up for a nice, relaxed walk n' talk shot down North St beach here in Chicago and all of a sudden it seems that my boom pole has turned into a veritable hum magnet. The hum sounded like a messy version of 60cycle and would vary in amplitude and abrasiveness with movement of the boom in different positions. Maybe someone with a little more electrical wisdom than I can explain what was happening here. Factors to consider: - I was right on the lake shore (lake Michigan) - It was a cold, wet, drizzly sort of day - I had clear line of sight to the John Hancock building <1mile south of my position (massive antennae tower) - The footing was a mix of wet cement and wet earth. Equipment/Signal Flow in use: 416 T-Power ---> Shorty XLR jumper (pin1 connect to shell both ends) ---> vdb coil cable pole (pin1 NOT connected to shell) ---> Boom to Mixer XLR jumper (pin1 connect to shell both ends) --->PSC Alphamix Other factors: - When the camera op broke to do B-roll and switched on his camera mount shotgun (P48) there was no hum on the recorded sound. - Even with no cables plugged into the Alphamix I could still hear a bit of the same hum in the noise floor. - I had wires (lectro 200 series) on the subject and interviewers and vaguely remember having the same problem but to a much lesser extent. My best guess: -From what I just read on an old posting it sounds like T-Power mics don't like cables that have the shield tied to the connector shell, something about the signal being present in the shield as well as pin2. So maybe I inadvertently created an RF antennae and somehow the 416 was amplifying the noise? -Maybe the coiled cable of the vdb was inducting noise? -Or maybe (really hoping this isn't the culprit) the PSC Alphamix is just not well designed for RF immunity. Hope someone has the time and interest to clue me in on this one! It really made a mess for sound that day and I would love to avoid the problem in the future. Thanks in advance! -Derek Hanson
  16. Good thinking! I love doing stuff like that on the fly. I did a similar jerry-rig stereo array to grab tracks of a 70's impala pass-by on a bridge in Nashville and it worked great. I had two 416's but only one rycote softie mount so I ended up putting both mics in the single mount by sticking them through the wrong holes at opposite angles. It wasn't pretty and required a good amount of gaff tape to be sturdy but did the job in a pinch. Wish I had a picture. Of course, a proper xy Schoeps setup with the ball-gags and all would have been ideal but I always try to get the most out of the gear I have on hand... which wasn't much on this particular show! On a side note: I've been impressed by the sound quality of the Zoom H2 hand held recorder. It went to Senegal and Mali with me last year and helped make some great music and drum recordings as well as some nice atmosphere tracks. The noise floor is a bit high for my liking and it's ability to record 24bit is more of a marketing ploy than anything but there was no other option at the time that allowed for stereo (quad stereo actually) recording with such tiny and portable equipment. Cheers, derek
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