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Found 17 results

  1. Hi all, I'm new to audio and sound recording, and have been reading up on the physics of sound waves, comb filter effects, reverberation, Location Sound Bible book, and a smattering of sample recordings for audio recorder and mic pairs. I know that users on this forum mainly work with pro-level equipment, but I'm really out of ideas for places where I could find good, reliable answers. Please allow me to give some background to my situation. I need to record footage destined for Youtube. It will be recorded mostly indoors in a living room. I can't really do anything about echos and reverberations unless I convince my friend to DIY some sound diffuser etc...but probably won't happen for a while, or ever. The video will purposefully be made to look amateurish to have a down-to-earth and honest feel - and it will be. As such, there won't be fancy 10 bit /12 bit filming with color grading, saturated colors, fancy shots etc.. The video is just good enough so people will want to continue watching and the same goes for sound - I'm trying to make it somewhere between amateurish and professional - clear enough so that people will continue watching but not spectacular absolutely no-noise, amazing range + clairty, shown-in-theaters film quality audio. I'm mentioning this because of a super tight budget that's not within my control..I know how tight the person's finance is. We're talking about budget entry level equipment such as the NTG 2 with Tascam dr-60dmkii. I've looked all over but found nothing other than Tascam, Zoom on the recorder front, and NTG 2, Audio Technica 875R, and maybe Audix SCX-1HC on the mic front. I just can't make myself hit the buy button because that's not what I would spend my own money on, and there is some audible noise with NTG 2 and Tascam dr-60dmkiii pairing. Frankly, any budget recorder will probably have noise with low output mics due to cheap pre-amp. So I discovered some threads on this forum that mentioned preamps..such as this thread and that thread. Will connecting a good preamp to the microphone and simply using a balanced level input recorder (Tascam Dr-40) as a bit bucket give better results than NTG 2 + budget recorder preamps? Good budget preamps such as Sound Devices MM1/MP1 are overbudget, but there are a few Shure FP23s on ebay that are within reach. But FP23 seem to have come out in 2000. I'm wondering if it's still usable due to capacitor degradation. I have no knowledge about electronics so I'm simply guessing. Thank you in advance. Any help is greatly appreciated!
  2. Hi all, I'm prepping for a film in Asheville and need to get local frequency compliant radio mics with racked RX, some program monitoring TX/RX too. What are the nearest reputable companies I could be looking at? Everything nearby seems to be video A/V so any pointers will be gratefully received. I'll also be needing an assistant/trainee. Where is the best source for that? Please forgive me but I'm new to using this rather wonderful site and haven't learnt my way round it yet. Warm regards, Julian
  3. A friend of mine is part of The Museum of Broadcast Technology, a large building in Rhode Island with two floors of audio and video equipment. He'll be at NAB with at least a couple of large pedestal cameras and who knows what else. It's in the main lobby of North Hall, right at the Taxi pickup area. Worth looking at. And if you do please say hi to Paul Beck, one of my best buds from college (he went into video; I stayed with audio). You might also see Tom Sprague or Peter Fasciano; they're also good people and Boston-based engineers. When I first walked into the museum, before it was open and the equipment was just sitting there, I told a friend "This is my whole career -- almost everything I'd ever worked with from the late 60s through mid 80s -- in one place!" The museum's website hasn't been updated lately, but they've posted a video sample tour of just one of the pieces in their collection. The sample is about one particular VTR... but they also have audio stuff. And here's a couple of snapshots from their pre-opening. They're rebuilding almost everything, and a lot of the gear now looks and acts brand-new.
  4. From today's New York Times: Scientists are trying to make long-term recordings of the ambience in remote Alaskan locations, to capture the sounds of birds and bears and other creatures before they're drowned out by snowmobiles and flyovers. Except sometimes the critters act like actors looking for an excuse why they can't concentrate:
  5. What do you all think are the necessities of a sound bag? Regardless of mixer brand etc, I'm talking what are the things you carry in your kit that have saved you in a pinch? Cables, attenuators, converters, rubber bands, altoids (true story), whatever it is! What's in your bag of audio solutions?
  6. Hi friends, I could use your advice. I have an SD744t and a MixPre-D. For mics I have a Rode NT4, an Usi stereo pair, 2 JrF contacts, 1 JrF hydro, and 1 Aquarian hydro. I'm going to north Australia (Cape Tribulation) in July and want to record mainly ambiances of the rainforest and beach the sound of a cassowary yelling at me I'm wondering what gear you would bring on a trip like this, so that I may consider upgrading or investing, Since I'd prefer to stay away from the Cassowary's deadly claw, I'm thinking maybe Tellinga parabolic system. Alternately I could maybe find an animal specialist that could work with me to find one and get the sound. Has anyone here ever done something like that for a project?
  7. Hi there, Dimitri here, I own a Maxx and I am debating buying a nomad after selling my 788T. I like zaxcom products and I am very interested in the nomad. However I am not a fan of how unsterdy they feel, especially the power on switch and the cf mirror card on the nomad. Anybody knows if zaxcom will come out with a new Nomad soon? Thanks
  8. Hello! My name is William, and my question is a simple one, albeit over-asked. How does one get into the industry? I mean this in the most general sense. Should I start low and work my way up? Should I just buy a bunch of sound gear and pray? There seems to be so many paths to take, but I am unsure and honestly scared. I don't know what I'm doing and would love to hear what other people have done, and what's worked and what hasn't. My Current "Plan" My current plan is to move to Georga in the coming year, specifically Atlanta. I thought it would be best to try contacting people that are already in the industry, asking if they need any help with a Sound PA or Utility. I am willing to wrap as many cables and get them as much coffee as necessary. Hopefully, one day I can buy some of my own gear and start actually working as a Mixer/ENG on various productions. I don't see that as happening for a long time though. Does this sound like a good plan? Or would it unprofessional to just contact people already in the industry asking for work? What do you suggest I change about my current "plan of attack"? Thanks for your help! ~William Hirsch
  9. I'm going to be on a show for almost 6 months, alternating travel and shoot days, with flights every week. I was curious what packing solutions are out there. Currently for small travel shows I have a lowepro dslr backpack which I find sufficient for mics, transmitters, cables, tapes etc. and a pelican 1510 for my 552 mixer ( but the 664 is just too big to put it in sideways, which i have now) and a long case for boom and stand. Usually I strip my mixer for travel and always carry-on, but I want to limit the amount of tear downs I have to do.
  10. I posted this on my blog today. You are welcome to check out the post with all the pictures attached if you like here or read below: ---------------------------------------- I recently got a Schoeps CMR. It is a single cable solution for connecting a bodypack to a Schoeps MK series capsule. I'd like to start off by saying that if you love the sound of the Schoeps Modular MK series capsules as much as I do, and also use them for your primary plant microphones (in cars, on desks, etc.) you will LOVE what this product does! There were two ways (before the CMR) that we would use the Schoeps as a plant with the following chain of gear: Plug-on Transmitter: MK41 Capsule > GVC Swivel > Colette Cable > CMC6U Power-supply > Plug-on Transmitter A fairly straight forward process and fairly simple chain of five pieces. Bodypack Transmitter MK41 Capsule > GVC Swivel > Colette Cable > CMC6U Power-supply > Denecke P48 Box > XLR to TA-5 Cable > Lectrosonics SMV Transmitter This works, but it get's more complicated because of the need to introduce phantom power to the mic. The chain is eight pieces long. Then you add paper tape & Joe's Sticky Stuff (don't have some? GET IT! Miracle product for plants). As you can imagine, that can be a lot of different bits to grab, sometimes on a moments notice. With the Schoeps CMR and the Bodypack Transmitter: MK41 Capsule > GVC Swivel > CMR Cable > Lectrosonics Bodypack. This cuts the gack in half for bodypacks with a chain of four (or three if you prefer not to use the GVC Swivel). How does it work? Are there tiny German unicorns on a miniature hamster wheel stirring up the phantom juices to make this amazing product work? No, but that does paint a nice picture! (Bonus points for whoever actually PAINTS this picture, I'll attach it to the blog.) According to the manufacturer about the CMR: low power consumption: only about 1/20 to 1/48 that of a phantom-powered microphone So, it seems they have found a way to use the small current that the Lectrosonics bodypacks output (that can also power a Sanken CUB-01 for example) and use it to power the mk41 capsule. The Downside? Are there any downfalls? Well, like all things, the Schoeps name does not come cheap. I've seen it retail for between $659 and $770. It may sound like a lot to pay, but when you consider you don't need a expensive CMC6 to power the capsule when used as a plant, it is a pretty good deal and greatly simplifies a way to get that sweet Schoeps sound! The CMR will NOT work with the CUT1, but does work with the DZC- pad and GVC swivel. It will also not work with Zaxcom Transmitters. Also, it is a little bit bigger at the connection to the capsule than a Colette, but considering everything in the chain that it eliminates, this is negligible. Conclusion: That being said, I've already put it into play on set. The CMR worked like a charm. I'm sold! Notes: Some information about the CMR I found at Posthorn: ** For Sennheiser SK50 transmitters, the CMR must be ordered with the termination installed by Schoeps. It is only available with a 2 meter cable. We do recommend that all terminations are installed by Schoeps. Schoeps has confirmed compatibility with current and legacy Lectrosonics (TA5F) models, Audio Ltd. and Sennheiser SK 50. Other connector terminations available as a special order - exact wireless brand and model info is required. The Schoeps CMR will NOT work with known Zaxcom transmitters or the Sennheiser EW Series. The CMR also will NOT work with Colette Active accessories (e.g. CUT1, KC 5g) or the BLM 03 Cg. A DZC- pad or GVC swivel are the exceptions and can be used. THANKS! The Schoeps CMR was courtesy of Scott Bolland of Redding Audio & Christina Zofia Wittich of Gotham Sound. Many thanks!
  11. Hey soundies, I recently had my apartment broken into in Astoria Queens. They stole my Canon 7D camera, and aKAI keyboard, and my entire 788 sound rig with lectrosonics, comteks, smart slate and everything else in the bag.... This was in astoria, queens New York.... If Anybody knows of any gear someone is selling for very cheap or seems shady please let me know... Cheers
  12. Near Detroit is a museum that contains much from Thomas Edison, including his actual Menlo Park Laboratory that was shipped here by Henry Ford (along with New Jersey soil for it to sit on, at Edison's request) On a recent shoot there I took my Sound Devices kit to meet it's Great Great Great Grandfather!
  13. Hello all. It's been a while since I last got on this forum. I am halfway on one of Jay Rose book but I felt that even though I read it, I'm not understanding it. Maybe it's like working a camera where you have to use it to understand it better. So I'm wondering if I should just start buying gear, learn as I go WHILE reading Jay Rose's book. And should I buy the lower end and upgrade as I go or should I try for something mid range or higher so I don't waste money buying twice. Also for some perspective, I'm working minimum wage job at the moment
  14. Whether it's taking up a mixing/booming role or just as an assist, I imagine that in some of you guys' long career you might have found little things that every once in a while or quite often come in handy on your projects or just something that does something nifty that some people wouldn't think of, well I hope there is something otherwise this will be awkward haha. I'm currently trying to find some work to start my career here in NZ and want to try learn and do the best I can from the getgo and obviously make mistakes to learn from along the way, I'm more of a post guy and had mentality that it's better to be the guy that fixes the problems than to be the one causing them on set as in I don't like the thought of any screw ups I make result in having to give more work for the guy in post, but reading some of the insightful information here got my confidence up on doing more production sound mixing which is primarily what I did at film school last year. Thanks guys.
  15. Hi everyone... I'm currently taking a break from Production Sound Mixing and am pursuing some other opportunities so right now I have a lot of Audio Gear available for rent... I will beat any rental house pricing by 20% on similar gear. I am located in Burbank, CA so local pickup can be made or will also ship if need be. Below is a list of most of my primary gear... Feel free to ask about any smaller accessories that I may not have listed here yet probably still have. Also check out my personal website www.jonahguelzo.com for the gear list again, the kind of work I do as well as further contact info. Production Sound Mixing Equipment: Tascam HS-P82 Tascam RC-F82 Tascam DR-100 MKII 2x Timecode Buddy Wifi Master Timecode Buddy Tx 2x RED Epic/Scarlet Timecode Cables 3x Lectrosonics UCR 205D Kit Lectrosonics UCR 210D Kit K-Tek Aluminum Traveler Pole 7ft. Boompole w/ Internal Cable K-Tek Graphite Fiber 25ft. Boompole w/ Internal Cable Rode NTG-3 (shotgun mic) 2x Oktava MK-012 (small diaphragm hypercardioid mic) 2x Tram TR-50 Lavalier Microphone 2x Lectrosonics m152 Lavalier Microphone Rode Blimp System Rode PG2 (pistol grip) Rode WS6 (shotgun Mic Softie) Rycote Invision 6 (mic suspension mount) Rycote BBG w/ Windjammer (pencil mic windshield kit) Comtek IFB Kit (1x Transmitter, 1x Receiver) ATS RAM Boompole Cradle (boompole mount) Sony MDR-7506 Studio Monitor Headphones 2x Sony MDR-V6 Studio Monitor Headphones Sennheiser HD201 Studio Monitor Headphone 2x Sony MDR-G45LP Around Ear Headphones XLR Cables (3-50ft. in length) External Power Distrobution Setup with 4x NP-1 batteries and NP-1 Cups In addition to what is listed above... I also have: BeachTek DXA-SLR PRO (XLR audio adapter for DSLRs) ~ Enables one to get the highest quality audio into the widely used DSLRs... This is BeachTek's flagship model. RODE STEREOMIC PRO RODE VIDEOMIC PRO QUE Audio SNIPER Shotgun audio Kit (Que Audio's Pro "mini" shotgun mic with accessories) ------------------------------------------------------------------------------------ In addition I also have Porta Brace Harnesses/OTS Bags etc for appropriate gear as well as lots of additional accessories that I've chosen not to list. So if it's not as big of an item and not listed, feel free to ask. Call anytime and we can discuss your needs and pricing. I'm not using my gear right now so benefit by cheaper rental rates! e- jonah@jonahguelzo.com phone- 434-444-5225 Regards, -Jonah Guelzo
  16. So I am in a rock and a hard place. I just had a great month but am not sure if there are anymore of those ahead. I must upgrade my wireless along with other parts of my systems. My worry is if I spend money to get the gear now then if no gigs come in I will have to sell them right away but then if a gig comes out of the blue and I have to rent then I lose a bunch. When did you guys make the decision to buy gear outright. Did you allow for a cushion to buy it or did you take a risk and get it? BTW I also need advice on navigating this site. The search function is pretty bad on this site and I hate asking questions that have probably been asked before. Tim
  17. First an intro... I have been an on and off prod. sound mixer for 4 years in the Dominican Republic. (on and off because I moved to spain for a while and also started a small av contracting business which i am currently closing) Mostly did commercials and the occasional documentary or tv program(over 60 or 70 commercials). I am currently on my second feature. Little by little I have been able to purchase the following gear: SD 744t SD 442 Sennhesier MKH 416 Sennhesier MKH 50 2 Tram tr50 4 Sennhesier G2/G3 wireless Bags, Rycote windshield kits, 18 ft and 12ft boompoles, plus aditional bells and whistles. Looks like I'm going to be doing some features now. (pinewood building 6 lots here+ new film legislation has come into effect implementing tax incentives for film/tv production.) This is what i would like to know. Keep in mind there is no local rental house i can deal with. Obviously the G2s are my weakest link. Thinking my next purchase should be a Venue with atleast 3 SMQs this will run me about 7K no-one even owns lectrosonics here and i just know it would give me great piece of mind (also RF space isn't very well regulated and could probably get away with running them at 250mw output. Are there any down sides other than being forced onto a cart? Does a cart seem like overkill for a 442 744t setup? Anything I should think about buying before, like TC slate for example? I love the idea of getting a 788t eventually with cl9, but seams like overkill without enough mics to fill the 8 inputs. Any comments would be greatly appreciated, I know there have been a lot of threads on this forum about this, but most answers included renting lectrosonics or other proper wireless or other necessary equipment instead of buying.
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