Jump to content

Search the Community

Showing results for tags 'equipment'.

  • Search By Tags

    Type tags separated by commas.
  • Search By Author

Content Type


  • Main Board
    • Current
    • The Daily Journal
    • General Discussion
    • Equipment
    • Cameras... love them, hate them
    • Recording Direct to Computer
    • Workflow
    • The Post Place
    • Images of Interest
    • Macs... and the other computer
    • All Things Apple
    • Technical Reference
    • Do It Yourself
    • Manufacturers & Dealers
    • Work Available - Available for Work
    • Post to the Host
    • Donate to Support JWSOUNDGROUP

Find results in...

Find results that contain...

Date Created

  • Start


Last Updated

  • Start


Filter by number of...


  • Start





Website URL








Found 15 results

  1. I've been using a rode boompole pro for a couple of years now, and it's been fine for the low-no budget student short films I've been working on, but now I'm getting boom-op gigs and I don't think it'll really cut it anymore. Ideally, I'm looking for something that's internally cabled (coiled) with a side exit xlr, and not 6 sections. Considering the rode pole reaches 10' max, would it make sense to invest in a longer pole to start, then upgrade from the rode one to a nicer short pole down the line? Or would it be better to shoot down the middle for a 4m pole? Budget isn't too much of a factor, I want to get something that will last. I've heard good things about ambient, vdb, panamic, all of them really, and it's tough to sort through the noise. I want to get a sense of what I should be looking at, then I'll go test them in person. Thanks!
  2. Anyone experienced this noise in the recording after mirroring on Nomad? I was using SanDisk Ultra Compact Flash 16 GB 50 MB/s and Transcend 64GB 800x as Primary. Processor speed Fast 1 on 7.81 Firmware. I tried to remirror on a Transcend 16GB 133x which is recommended by Zaxcom but still no luck. Luckily the Marf file was fine and saved the day. Any tips on how to fix it or I should just send the machine to the mothership? Thanks in advance. Marco audio corrupt 3.mp4
  3. Hi to All in T.O. In the process of comparison shopping for gear in Toronto - am I missing any other (or new) suppliers other than the 2 main "usual suspects"? Have had great assistance from both these very helpful suppliers of course, just seeing if I've missed any other sources to check out. Thanks very much. Have a great Monday :-) Cheers, Dave
  4. Hi All, I would like to know what equipment are essential for a boom operator to have on set. Thank you.
  5. Just spent more than a few minutes reading the TOS for Kitsplit, an interesting site that aspires to hook up kit owners and those who need kit. Is this potentially a game changer for rentals? https://marketplace.kitsplit.com/ You can't get "in" to the site without first registering and confirming email, but you can get to TOS that appear to address all manner of potential horrible situations. Up to $10K insurance is included. Gonna watch this unfold.
  6. I am having a hard time deciding between these 2. I think Zaxcom sounds better but it's not so easy to use in comparison to SD that I have used for years. Do you think sound devices will ever come out with DSP? I am curious to hear what you guys think.
  7. A tech client of mine needs a portable that can take two simultaneous AES/EBU or s/pdif inputs and record a 4-channel bwv or other linear file. This will be used for capturing radio studio signals off their boards for later analysis, not for production audio. Inputs should also be switchable to analog; will be used as line-level so preamp isn't critical. Doesn't need timecode or word clock. Doesn't need internal mixing facility. Can't afford a 744, though that would be lovely. Would accept used, if you want to contact me offlist. Any ideas?
  8. Hi, Recently, I've been experiencing sutil intermitent clicks when using one of my oktavas mk-012. I've changed the capsule, but problem remains. I think this comes from hte mic body then. Anyone has experienced this issue?
  9. Hi. I have 2 PSC Promix 6. I like it so much. I wonder why it was discontinued. I'm looking for articles about it but couldn't find one. Anybody knows why? Thanks.
  10. Please please please! Refuse to sign box rental agreements for your sound package. It's not a box or kit, it's a package. It's not a drill, tape measure, laptop, or cell phone. I put $1800 worth of wireless gear on talent, and they walk away from me for 6 hours or more. I hand out $300 comteks to people in video village, and do not have them in my possession for 12 hours. Read the box rental form carefully. When you sign the box rental agreement, there's a clause that states that production is not liable for damage to your gear. On a show a long time ago, I submitted an l & d form for a lost comtek, and the studio attached my signed box rental agreement in email refusing to reimburse me. Don't sign the box rental form! Your company should Invoice the production very much like the g & e rental houses do.
  11. 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
  12. I have begun a compilation of professional audio equipment suppliers as a general resource. It's an incomplete resource as of today (August 20, 2012) but there is room to grow. I have listed Gotham Audio and Pro-Sound in the East, Trew Audio in the Central region, Trew (again) in Canada and The Audio Department, Trew/Coffey and Location Sound in the West. There are other candidates for inclusion, like Mary Atias (ATS Communications) in Maryland and Vark Audio, also in Maryland, and, no doubt, some others. I held off in this initial attempt at a list since I think there should be some ground rules for inclusion and I didn't want to assume the responsibility for doing all the vetting. And, I think that participants in other countries should help to expand the list to Europe and Australia and the Far East. To be on the list, I believe that the resource should be a full-service shop. It should be an authorized dealer for most of the primary equipment used by location audio professionals. That's an ever-evolving list but would certainly include Lectrosonics, Sound Devices, Zaxcom, Sennheiser, Schoeps, Neumann, Rode, Sanken, Aaton, Portabrace, Petrol and others of that ilk. No shop will have every brand, of course, but a full service shop ought to have many lines to offer and compare. Part of being a full-service shop is offering a range of services. So, it should offer not just sales but also repairs, rentals, custom cable fabrication and related services. All of the facilities in this list provide all those services, have knowledgeable sales people and equipment specialists and can provide comprehensive assistance to anyone seeking to purchase or upgrade a recording system. I posted here, rather than in the equipment section, because I regard this as a general resource, not simply about equipment. It's my thinking that this thread should be "frozen" so that it is readily available and so new visitors to the site, seeking general advice, may be easily directed. David The first draft of the list follows in a separate post.
  13. don't keep us all waiting, what's on the floor ?? what have you seen ? what do you think about it ??
  14. I've been buying stuff and fluffing up my toolbox with the usual barrels, adapters, cables and connectors. Any secret weapons we should all know about for typical or atypical situations that you're finally ready to talk about? Any 'once in a lifetime' war stories are welcome.
  15. So i am a boom operator and utility and I started out mixing to 2 channels on ultra low budgets in 2006. When I was fresh out of college I bought some crappy gear and started freelancing. I mixed features while poorly operating my own boom and badly wiring the crappy actors. Anyway the only thing I have left from my original kit is my 16' K-Tek and my Rycote #4 windshield kit. I recently sold my 722 because it had no timecode, I sold my DVCPromix cuz it sucked my Me-66 is a paperweight. I have been booming and working as a utility now for a few years and I have saved enough money to start building my bag----->cart. As I started thinking about it at the beginning of the year I wanted the nomad because it is a mixer and a recorder. Then I got excited about the idea of a digital bag with zaxcom radios that I could remote control and wireless timecode and self recording wires etc. Then I have heard about issues with the nomad, and less than amazing ruggedness of zaxcoms stuff. On the other hand I have worked for years with sound devices and lectrosonics and I know they nearly as tough as rocks, and I know they work amazingly! Really my question is twofold, do I take a risk on an 8 or 12 channel nomad with tons of features and maybe bugs, or do I buy 788t/CL8? If I get the nomad can zaxcom radios range beat Lectro SMQV on 250mW with an active antenna system. Im not interested in the self recording feature, If I need that on a show I will rent or buy a zaxcom then. Also can I put the zaxcom on an actor in the rain(mm400/WM) or in a rough and tumble action scene(SMV/SMQV/MM400/WM)? I want to mix features where I can use only the boom op but I realize that will not be the case for a while. Should I go with the tried and tested or the new and fancy? I am at that magical jumping off point for gear right now.
  • Create New...