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  1. I just caught 2 scenes of Young Sheldon and with his lav mic exposed next to his shirt button. I was hard to see the grill but it looks like there is no windscreen and the grill has maybe 5 holes . Not sure what type it is.
  2. jackdrobin

    Lav tape

    Hi all, I'm new here, but I've gone the distance...I will be posting regular soon! Promise! I've just purchased new everything (everything!....being delivered end of July 2013), after 10 years outta the game...but I'm wondering? What lav tape are you all using. I just bought some, and it sucks...loses its stickiness after 10 minutes. I frankly forget what I used 10 years ago.....probably gaffer, FFS! I should add, I'm not on the road yet, just field testing! It's a soft medical tape, that sadly, sounds fantastic ie. using nothing but the tape I hear little clothing and a lotta voice. Obviously I can't have the talent lose their lavs, and I can't use gaffa, cos it shows. I remember! What tape SOUNDS great, HIDES well, STICKS like a limpet, and gets the job done without too much mucking around....obviously I'm talking ideal conditions. I understand things get progressively complicated from the ideal starting point! Is there a new tape in the last 10 years that ticks these boxes? Clearly I'm talking hidden lavs! Cheers boyz!
  3. I'm looking to make the switch from Sanken's COS11d to DPA's 606X lavaliers. However, it's not cost effective for me to buy a full set of 6060s and 6061s. And I've seen a good few location sound mixers such as Tom Williams' lavalier collection being made up of 90% 6061 mics, which are the high SPL, low sensitivity variant of the 6060. My instinct would be to think that this isn't good, because it requires more gain out of the tiny transmitter preamps, leading to more noise, but if the top dogs are doing it, it can't be that bad, right? However, with DPA's CORE tech, is the advantage of higher SPL tolerance worth the risk of noise? What are your thoughts on this? My current transmitters are MTP40s Wisycoms, though I do use Audio Ltd. A10s sometimes, if that is relevant.
  4. Here's my review of the Countryman B2D Cardioid lavalier. Got video so you can hear and see what I'm talking about. http://tyfordaudiovideo.blogspot.com/2014/02/countryman-b2d-cardioid-lav-another.html Regards, Ty Ford
  5. The weather is getting hot recently. Last week, I was shooting in a small house, and we kept the AC off during takes. The inside temperature goes up to 92 F. The actors became very sweaty. I am wondering what is the technique that can be used under such circumstances. The actors were wearing a simple T-shirt and some of them had thick hair. Any thoughts? Thanks, Dan
  6. Hey all, I've edited this topic as I think people are getting confused and answering the wrong thing. I've gotten early into the preproduction of an upcoming film on which I will be sound recordist. It is a great opportunity to do whatever I can before those rushy production days. One thing I told them to do is wash the wardrobe. This is based on information I acquired here in posts about reducing lavalier clothing noise at jwsoundgroup. They asked me if there were any specifics so I decided to ask you guys directly. I wanted to know if anyone knew anything about the following: -Whether they can be safely washed several times in a row (without drying until the end) or washed once and then dried once but several times in succession? -If fabric softener helps noise? -If tumble dry is better or worse than clothesline? -If dry cleaning is effective at reducing noise (I've never done it personally)? -I also wondered if we should be aware about how much damage any of this causes to the clothes or their colors (still the visual aspect to consider)? -Anything else that is similar to the above but I might've missed? Yes I have washed clothes in the real world as everyone has, but never really paid attention to how "noisy" they sounded. It's probably got a lot behind it, this clothing-quieting-through-washing process. I wonder if there are production designers or costume designers who've got the whole process down? Is there someone accessible? I did look this up through jwsoundgroup via google, but it's difficult to do a search for "wash jwsoundgroup", "clothes noisy", or "clothes washing" or something like that without finding something unrelated about lavalier technique or maintaining our equipment. I apologize in advance if someone's already posted this topic somewhere (this one about how to go about washing clothes). Thanks for the help.
  7. I have a Sanken CS-3e and was wondering what the best lav mic would be to match the darker/warmer sound of my shotgun. I mostly do narrative work where I have to hide lavs under clothing,
  8. I just purchased 2 TL40's from OST, and I noticed there weren't a lot of pictures online of them. I have uploaded several close up shots of the mic. They mic's themselves sound great, I haven't really tested them in the field yet however. The capsule itself is slightly larger than the B6, about a 3mm diameter. The only downside I see is the relatively thick cable. They cable is also fairly noisy as well. Here are some sound tests. Recorded through Sennheiser G3 Lavs, into a 442, into a Tascam DR-40 Recorder. Sound Test Sweet Spot Test
  9. Does anyone have a standard workflow they use when equalizing a thinner lav feed to the more robust boom? I'm assuming you probably use the spectral analysis in protools coupled with an eq. There used to be a bias app called repliQ that did an awesome job but they're outta business. It seems rather clunky to do it just by ear and I'm assuming those who have more experience know exactly what to do. Any suggestions? jgbsound
  10. Nir

    Dpa slim

    Hey guys, After several months that the Slim is on the market I would like to hear from your experience some feedback. How is the color of the mic? Is it easy to work with it? how is the concealers? Does the "button hole holder" works good? Since the mic's grill is also open in the front (and not only in the upper-side like at the 406x) how does it work with Rycote over/under covers? Thank you and Best regards, Nir
  11. Hi guys, During a shooting day the talented talent fell down to a lake (sweet water, but very dirty) and my Dpa 4061 capsule was full covered with water. The production got me a new capsule (and a new transmitter), but I wonder do you clean your capsules? or if it sounds good and nothing happened you don't? if you do clean, how you clean it? some people suggest me to dip the head of the capsule in distilled water for few seconds and hang it in the air for a while, some tell me to to dip it for hours in tap water, etc. I would like to hear your opinions and methods, Nir
  12. Simple question here: do you prefer the DPA brand concealer (DMM0012) or the LMC Sound C Mount Vampire Clip for hiding 4063's. I'm interested in all of the obvious performance benchmarks, such as transmission of clothing noise. LMC: http://lmcsound.com/products/c-mount/ DPA: http://www.bhphotovideo.com/c/product/545888-REG/DPA_Microphones_DMM0012_DMM0012_Miniature_Concealer_for.html
  13. Hey all! I've been working on an Arena football reality show, and we've been putting some of my wirelesses on players during the game. The SMQVs are pretty snug in padding and gaff taped to hell, so they're holding up like champs, but as you can imagine, my lav mics are getting destroyed. The mic head is pretty tucked away inside of padding, but they're still taking on a decent brunt of impact. I've been using my B6s because they're fairly sweat proof, but between the impact and the yelling (my SMQVs' sensitivities are set to 1.5 during the games and the players still occasionally peak in unit), the diaphragms are taking a beating. I was thinking of picking up some Oscar Sound tech TL-40s because of their price point, but I was wondering if anyone could suggest some rugged mics that might hold up better in this situation. I've been shying away from my tram mics in this situation because my experience with them is that they tend to sweat out pretty quickly. Thanks!
  14. Hi all, I have decided to do a little test between four models of lavaliers. There are four audio tracks, all meant to be a comparison between four different models of lavaliers. The four models are as follows: Sony ECM-88, COS11X, Tram TR-50 and AT899. I will play a little game and let you all choose which one is which. *Hint: The lavs listed above are not in the same order as the audio tracks. Setup All Lavs are mounted externaly. All lavs are 6 inches from my mouth. All are the same height from my mouth and are mounted width wise within three inches in the middle of my chest, mounted upright. I am looking forward, straight ahead. All lavs have wind protection. Room is 12' X 15' and talking into acoustic panles to deaden room reflections. (I am in quite a live room at the moment). Routing Sony ECM-88 and COS11X -> Lectro. SMQV -> Lectro. 411A Tram TR 50 and AT 899 -> Lectro. LMA -> Lectro SRB Recorded onto SD 788t, 24 bit, 48khz. Enjoy! Lav. 1 Lav. 2 Lav. 3 Lav. 4 - Paul
  15. Hello, I was recently watching the "behind-the-scenes/making-of" DVD for the British period drama "Downton Abbey". The sound mixer mentioned that all the characters were wired for primary dialogue and boom mics/shotguns were used mainly for atmosphere. With all the intricate period costumes and many characters in a scene, I was curious about the lav/wireless sytems used and how it is all dealt with. Forgive me for not catching the sound mixers name, but I certainly admire his work and the scope of the series. Thanks kindly, Dave
  16. Hi, I was thinking about plastic/rubbery lav concealers such as this DPA one: http://a248.e.akamai.net/origin-cdn.volusion.com/b3o4z.gn3gt/v/vspfiles/photos/9999-13614-2.jpg?1362991732 Currently the lavs I have are Rode Lavs and OST TL-40's. Does anyone know of lav concealers that work well with these mics? What about these quieting sleeves, anyone tried these and what did you think about them? http://www.bhphotovideo.com/c/product/417402-REG/Garfield_SGARHL_Hush_Lav_Lavalier.html Thanks!
  17. Hey guys I am on a gig where the subjects are walking in abandonned places and they need to wear Tyvec suits, they look terrible and it sounds terrible also! (see the attachment) The boom won't be able to get close enough in most situations so wireless are needed. I was thinking maybe to mic the forehead with a strap inside the hood, or else see the mic outside the vest by doing a hole in the suit. I am sure both options won't work because the "talents" will remove their hood outside the building and the compagny won't let me do holes in the suits... I will do test on a suit soon but I would love to hear you on this.
  18. Hello, I have done my fair bit of research on the web and within this forum concerning the DPA 406X series, but I haven't found a general answer to my specific question. Is the microdot connector really as faulty as people are saying? Is it better to just get it terminated to TA-5F for use with my Lectro wireless system? If I didn't hear the horror stories about the microdot I would be more inclined to get it because they offer both the 4060 and 4061 in a stereo set. The set also includes 2 microdot - XLR belt clip adapters; and I try to use a wire when possible so this would be very convenient. If I get the mics terminated to TA-5F I would need either the Lectro or Remote Audio TA-XLRF adapter. Is anyone using these adapters? I noticed the Lectro to be 3x the price. I'm afraid this would make my setup too bulky. I suppose by not getting the stereo set I could then get one 4060 and one 4061, but that would keep me from using the mics for stereo ambiences and SFX and limit me to film+ENG dialog. I'm at a loss of what to do and any further information on the microdot connector or TA-5F-XLRF adapters would be great. Thanks,
  19. I just finished working on a short film where I had to rely on lavs much more than I have previously (many wide shots and noisy locations). I've always based the positioning of lavs on the individuals clothing, body build and movements, trying to find a place that was free of clothing and cable noise, without having it sound awful (usually when they turn away their head or it's too close to the throat). As such, the tonal differences between actors could be quite big (sometimes unavoidable because of what they wear), but it's never been much of an issue as they only served as a backup to the boom. For this project then, I started to think more about consistency of tone when it came to the lavs, and I was wondering in what degree others let that affect their choices? Do you try to get the same tone between actors (which often means similar positioning and possibly the same model of lav), or do you trust that it will be fine with some EQ in post?
  20. I saw this today, looking for images of my old but loved sennheiser, trying to identify the model number and came across this image. Just for the recorded it looks like a stick of dynamite. XLR on one end and 6ft+ thin cable on the other connected to the lav mic. If you know this mic let me know. http://www.leewhitephotography.com/blog/wp-content/uploads/2010/09/wireless_open1.jpg The author is claiming that the looping eliminates noise created from the cord when it moves. Just wondering if this is true?
  21. There've been lots of discussions about the Oscar Sound Tech lavs…how do they sound, how do they compare, etc., etc. Well, I just put my recently purchased TL-40s through a great test and (spoiler alert), they passed gloriously! I had the opportunity to mic and record two singers doing operatic-style vocalizations. As they went from loud to louder across the full range of their voices, I held my breath expecting to hear over-modulation or at least some peakiness during the exercises. They got so loud at one point that I had to stop them to turn down the inputs on my transmitters. But no matter what level or frequency hit those OST lavs, all I heard was smooth, clean response from them. Overall, I'm quite impressed with their performance in that situation.
  22. https://vimeo.com/55828018 Discuss.
  23. There have been a lot of discussions about the Oscar Sound Tech lavs…how do they sound, how do they compare, etc., etc. Well, I just put my recently purchased TL-40s through a great test and (spoiler alert), they passed gloriously! I had the opportunity to mic and record two singers–one man and one woman–doing operatic vocalizations. As they went from loud to louder across the full range of their voices, I held my breath expecting to hear over-modulation or at least some peakiness during the exercises. They got so loud at one point that I had to stop them and turn down the inputs on my transmitters. But no matter what level or frequency hit those mics, all I heard was smooth, clean response from them. Overall, I'm quite impressed with their performance in that situation.
  24. Hi everyone, I find myself keep changing the way I store my lavs in my pelican and can't find the perfect way to store them. Fast access, durable, space conscious.... If some of you feel like you have a satisfying solution, would you please share with me or perhaps upload a photo of your box, case, store space, etc... ? Thank you in advance guys/girls! Engin
  25. Hi guys, I work on studio shows where the company I work for use Sony ECM 88, I really hate the clips and its hard to get a nice neat loop, is there any alternative clips for these ?
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