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About GarySound

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  • Birthday 12/26/1950

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  • Location
    Sound Recording
  • Interests
    "Although the planet appears desolate at first, the surviving crew members stumble upon a society in which apes have evolved into creatures with human-like intelligence and speech. The apes have assumed the role of the dominant species and humans are mute creatures wearing animal skins."
  • Interested in Sound for Picture
  • About
    "Although the planet appears desolate at first, the surviving crew members stumble upon a society in which apes have evolved into creatures with human-like intelligence and speech. The apes have assumed the role of the dominant species and humans are mute creatures wearing animal skins."

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  1. GarySound

    Underwater Mics

    Actually, the end product did had some residual air left in the bag which allowed the mic to work better than the effects of trying to record in a vacuum. The mic gag was about 3.5’ long and 11” wide. I hung the sealed bag in the water, ballast down, with the transmitter and antenna just above the waterline. I also reduced the power of the SMV to 50mw so I could get the longest battery life possible. If a mixer finds himself/herself in this situation.. renting a true hydrophone would be my recommendation. My 2nd choice would be to put a PZM microphone in the bag instead of a lav mic. The PZM creates it’s own mechanical coupling so, my guess is that it would be less affected by the physics of it all. In my situation, production laid this on me at the last minute. I didn’t have a PZM in my kit and tracking down a hydrophone rental was overruled by time constraints. On the day.. I had an Olympic Champion in the water with a camera above the surface and a submersible camera below so, I had to improvise and improvise I did. Sent from my iPhone using Tapatalk Thanks Mike. If you want to sell one... I’m your buyer. lol Sent from my iPhone using Tapatalk The tx MUST be kept above the water line to work. Sent from my iPhone using Tapatalk
  2. GarySound

    Underwater Mics

    How many times in your career have you had a last minute request from production to record underwater sound effects for an underwater shot perspective. Well, it’s happened to me twice in the past three years. Since I don’t carry a hydrophone in my kit (probably should) I’ve had to rig something each time very last minute. My first attempt was an old SM58 wrapped in a trash bag hardwired back to the mixer. It sounded ok but the bag eventually leaked and soaked the mic pretty good. It never quite sounded the same. The second time around was more successful. With a little more time to prepare.. I decided to try and vacuum seal a Sanken COS11 and a SMV transmitter (yes I’m crazy) in a “Food Saver” vacuum bag. I used the 11” wide tube variety at about 4’ Long. I also added a box of 24 AA batteries at bottom end for ballast. It worked like I knew it would and gave us that old school “Twenty Thousand Leagues Under The Sea” sound effect. Needless to say.. production was thrilled. Sent from my iPhone using Tapatalk
  3. GarySound

    New TC Slate from Denecke/Timecode Buddy

    Build the antenna into the faceplate or... FORGET IT!
  4. GarySound

    A very bad day in GA

  5. GarySound

    Standard Operating Procedure...

    Never let a Chimp hold the boom.
  6. GarySound

    Helical Antenna

    You bet "old school". The only issue i've had with the Kaltman antenna is that I had to improve the spud mount to bring it up to more rugged standards. Other than that... they are compact, weigh only a couple of pounds and seem to work. Go figure.
  7. GarySound

    Helical Antenna

    Hello All, In April 2013 (on a hunch) I purchased a CP Antenna from Kaltman Creations of Suwanee, Georgia. Their claim was that their antenna incorporated 'Circular Polarization' technology that was guaranteed to reduce drop-outs and those little "swishing" artifacts that we all hate. GUARANTEED?"... what did I have to lose... right? My CP antenna arrived from Kaltman Creations the day before the annual C.A.S. 'Parade of Sound Carts' that was held at the Local 80 Sound Stage in Burbank, CA. At the cart seminar, I proudly displayed my new antenna with my cart but, but couldn't speak to whether the antenna worked or not because I had just opened the package 24 hours earlier. Now, seven months later I believe I can honestly contribute to this conversation about the CP antenna. I will preface my contribution by stating that I have NO real scientific measurements to base my opinion on... only anecdotal comments from practical applications. I work in the commercial world where wireless is mandatory and frequencies are at a premium. Like you, I don't have the luxury for sound department delays and defiantly don't have time to be futzing with wireless problems all day long. My wireless system has to work in ALL conditions... period! The wireless setup I use is of high quality but, somewhat typical by today's standards. I use the LectroSonics Venue system with SMa transmitters. Before buying my CP antenna, I employed two Lectro shark-fins (1) APL500 & (1) APL650 with the onboard amplifier for long cable runs. On "good" wireless days the shark-fin antennas would be mounted on my antenna boom and hoisted high into the air with no problems, but on "bad" wireless days (where I experienced drop-outs etc) I would run the powered APL650 shark-fin deep into the set with a long 50ohm cable and would power the onboard antenna amp from my Venue. If my department was given ample time to run the additional cable this worked pretty good but, as Murphy's Law would have it, the "bad" wireless days would always show up at the last minute or while I was rolling sound. Not good. Enter the CP antenna from Kaltman Creations. After installing my new CP antenna I began to noticed a difference. The swishy artifacts never seemed to appear and the antenna strength... although a bit low... never had drop-outs. How could this new CP antenna fix these two dreaded problems on such short notice? I had no idea. For five months I used the CP antenna along side an Lectro shark-fin with great success. One day the CP antenna spud mount broke while unloading my equipment. I had no choice but to go back to the older setup with the two shark-fins. Almost immediately I noticed a difference. The dreaded noise artifacts and drop-outs started to re-appear. It wasn't until I fixed the mount (five jobs later) that I could go back to the CP/shark-fin setup. Now, five more jobs later... no dreaded artifacts or drop-outs. NONE! So, what gives? Does the CP antenna from Kaltman Creations really work or is this just an "artifact" of MY imagination? psst...it's guaranteed to work. http://www.kaltmancreationsllc.com/rf-test-equipment-html/invisiblewaves-html/cpa-antenna-html/
  8. GarySound

    Monitoring Options for Wireless Boom

    "We use a Lectro HM plugon , and he monitors a boom-only feed via a Lectro R1A IFB." -syncsound I like the Lectro combo:-> I primarily mix commercials and have been using a wireless boom system for years with great success. I use a Lectro UH400a plugon transmitter plus a Lectro R1A IFB for boom monitoring. On commercial sets the rule-of-thumb is to never have open mics until rehearsals and camera rolls. This created a huge problem for the sound dept by restricting us from using the open boom mic for boom/mixer chatter. To get around the problem, I've accessed the "COMM" line input channel on my Cooper mixer via a dedicated Lectro r400a receiver. In addition to the UH400a plugon transmitter and the R1A IFB... my boom op wears an LM transmitter and lav mic for private communication back to my headsets. I also use the boom operator's open lav mic to eves drop in on the set to keep pace with production. Hope this helps...
  9. GarySound

    Boom operators - Cool photos

    Allister Mann working the commercial world.
  10. GarySound

    Boom operators - Cool photos

    Not to worry... it's a 416.