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    Sound Mixer in New York City
  • Interested in Sound for Picture

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  1. Does anybody know off hand what size screws to use for the Sanken CS-3e? Two of the three small screws on the inside have disappeared, I'm assuming they had somewhere more exciting to be. Emailed Sanken but have no idea when to expect a response from them.
  2. What is your mirror file name set to? If it's S1_T1 it might be overwriting it, always use the file names that append FOLDERNAME001, FOLDERNAME002 to the end of files to avoid this.
  3. If you buy an interface that has enough inputs you'll be able to future proof yourself. All of the interfaces mentioned have line or digital inputs that you can use for outboard gear, you would not want to double-preamp a mic. You can always buy more outboard gear after everything is set up, you don't need it to start. RME/Metric Halo/ Presonus/ whatever all know how to make preamps, so invest in whatever interface will be able to output/expand for your future needs.
  4. None of the interfaces you listed can do 9.1 without another ADAT output interface attached, so keep that in mind. That being said, I would highly recommend the RME UFX+, use it everyday and it is solid as a rock. Works in USB3 or Thunderbolt, which gives you more options than the Thunderbolt-only interfaces. If not the RME the Metric Halo ULN-8 is going to be better than your other options, and you can configure the output cards to suit your needs. If you're buying a high end interface that has mic preamps built in, it is a complete waste of money to buy a separate preamp, especially if you're being budget conscious. All of the interfaces listed have great clean preamps that will be able to do whatever you need for Foley recording. A properly working tube preamp will not give you a noticeable difference, especially for this purpose.
  5. Sounds to me like the internal BNC connector might have gotten disconnected. You can pop it open and see if it's still connected.
  6. Use the Neopax/other strap around the waist for sure, it lets you take the clip off of the pack to make it slimmer. Had no complaints through a month+ of shooting every day on the field with that combo, they're wearing so much other gear they don't notice. The shoulder pads make a little pocket on the chest where you can stick the mic, it will probably be easier to set all that up before they put the pads on instead of trying to thread it through. No matter where you put it, mid-action it's going to be pretty rustley. I would go over the shoulder with it with a good amount of tape for insurance. If possible try and get some antennas on masts/get up high/use Zaxcom or PDRs/all of the above. If it's in a stadium you'll be better off but if it's the the typical high school field, it's going to be so flat and empty (and full of bodies) that your RF is going to struggle. If they're expecting you to run around the field I would for sure get a PDR going just to cover yourself.
  7. Hit menu a few times on the QRX and it'll show the transmitter gain
  8. I keep mine in a small Pelican case with a couple small silicon packets whenever I'm not using it. Had a similar issue as you're describing and had to send it back to Germany, so being extra safe now. From what I was told, microscopic dust can get into the capsule due to the way the mic is designed, and when those specks take on too much moisture from heavy humidity days it'll affect the performance of the mic. I'd try putting it in a case with a dehumidifier, but my guess is that you're going to have to ship it back to the factory.
  9. Buy everything used. You have one indie feature under your belt and you're rushing to dump thousands into new gear? It's good to have enthusiasm but you can't forget you're running a business. Nobody who hires you at this stage knows or cares the difference between a Schoeps, Sennheiser, or two cans tied with string. Even now I'm rarely asked what mics I'm using by production. My advice is to buy a used 416, used Sanken COS11s, and hold off on the timecode until somebody asks for and pays for it. Spend the rest of your money on things that make your life on set easier (not a gold mount battery system, for example). Then when you've established clients and income splurge for the luxury items.
  10. I would recommend working like this. I don't know that the Zax IFB stuff was meant to be used as a master clock.
  11. I've shown multiple director/DPs who've had decent noggins this workflow, for when "there's only one seat on the plane to Iraq" jobs come up. There's a few options for it, all require cameras with timecode (unless you really want to pluraleyes everything)- Take a Zaxcom QRX235, rig and power it on your camera. Plug one output into one of the camera's XLRs, you can either take one channel or have a cable made to combine the two channels into one mono signal. Now take a Tentacle Sync (or whatever small timecode box you prefer), split the output of that and feed the QRX and the camera timecode at the same time. Plug a mic (Sanken CS-M1 is the current best for this I think) into the other XLR channel, and you're good to use as many Zaxcom TRXs as you'd like. Roll the onboard recorders as primary audio all day, sync everything with timecode. Works best with 1-2 channels but it's not hard to set up the QRX to quickly switch frequencies if you want to use 2+. The option for this, if you want to have more leeway with your onboard mic, is to use a camera that allows you to split the same mono signal to both tracks with different gains, so you can run high gain/low gain to save for loud moments while having a decent level for quiet stuff. You can make a headphone cable to come out of the QRX to listen to the lavs, which since you don't need to plug into the camera is easy to keep in a shoulder bag or whatever kind of hip pack you're running around with. If the QRX isn't on top of the camera you may want two tentacle syncs jammed together. The pros of this is that you have no distance issues, unlimited tracks, and the smallest amount of equipment possible to record audio. Neverclip on lavs gives you a lot more leeway with dynamic range for the crazy stuff. The con is that it takes a bit to set up and become comfortable with the workflow, but once you've built the thing you shouldn't have to change any of it.
  12. I use Reaper daily but still go to Pro Tools for film mixes. It feels like it takes so many more clicks to do the things that dialogue editing and automation require in Reaper. Have you changed anything about the way Reaper works with extensions to make film editing/mixing easier?
  13. Weird. Was just using mine fine at 23.98, tested out 29.97NDF and it would not jam from my Maxx. Looks to be an issue, let us know what they say.
  14. Does anybody happen to have the instructions for waking up a battery with the Audioroot eLC-SMB charger? Mine seems to have been misplaced, and I can't find the info anywhere. Unfortunately with the time zone difference can't call France from the US.
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