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Found 11 results

  1. I know Ultrasone headphones have been popular with location mixers in the past. Has anyone tried out the ADAM Audio SP-5 headphones https://www.adam-audio.com/en/news/industry/new-premium-headphone-adam-audio-studio-pro-sp-5/ on location and what is your feedback?
  2. I recently bought a portable bag mixing stand. It's made for a drum machine, but doubles perfectly for a bag mixing desk. any more weight than 20-25 pounds is pushing it. Here is the link http://www.sweetwater.com/store/detail/SSPC1/
  3. Hi folks; I was told I had a budget of around $5k for some new gear at the video production company I'm now at as audio guy and video assistant editor. So I know it's everyone's favourite question in boom mic land, but I'll phrase it differently Currently they're using Sennheiser ME66 and ME2 boom/lavs and when I priced out some Sanken COS-11 and Rode Lav wires and a complete package Senn 8070 (with grip, blimp, and rycote total of over $3k), the answer I received was "You wanna spend HOW much on one microphone?!?! You're crazy! What's wrong with using lavs, we already have a boom mic!" So: in order to keep with a 21mm/22mm mic shockmount and zeppelin rig (which will make them happy by keeping cost down), I'm looking for bang for buck and was maybe entertaining idea of Shure VP89 short and long capsule. Ideally, I'd go with Schoeps CMC6/MK41 for interior sit down interviews but my concern for these folks is the outdoor location shoots (it's 'corporate video' etc and sometimes can be in factory/mining/manufacturing/outside in windy prairie fields) so if I have to use the ME66 indoors, I shall. I know I can't serve both needs equally (indoor sit-down and possible distance-shot location with desired rejection) but which mics would you suggest I look at for the sub- $1200 ish range? I haven't been in location audio for awhile (mainly a post guy who polishes it later) so the go-to's for me used to be Senn 416, Neumann 81 / 82. I've recently been reading about Rode NTG-3 and the Shure VP89 series. Cheers! Jeff
  4. Howdy Gents, So I'm potentially going off in April to Brazil to shoot part of a documentary and I was thinking I'd like to grab a bunch of surround Ambiences of the Rain Forest, and multiple other locations that I'd later use in the final mix (I'm also the post editor/mixer for these films. The budget precludes the production from actually ponying up for the cost of a really nice surround config such as Schoeps OCT Surround setup so I'm trying to do one on a shoestring budget that I could absorb the cost on my own. What have you done to achieve decent quality recordings that you're happy with? I was thinking of building my own mic tree mount system then buying some reasonably priced mics to populate it. Any input would be greatly appreciated! John
  5. My family and I are going off to Nashville for 10 months from this July thru April and will be renting our 3+2 house while we're gone. Anyone coming to LA for the fall season and need a partially or fully furnished place? House is in the Sherman Oaks/Valley Glen area. See link for photos and details. Contact me at annawilborn@sbcglobal.net if interersted. Thanks! http://losangeles.craigslist.org/sfv/apa/3843178785.html
  6. Hello! I've had my Lacie Rugged decide to just not connect on several occasions on location recently, and even though I've got the recordings on my 788's internal drive which I then backup on my bigger drive at home, I'm paranoid and like to make as many copies as possible So, can anyone recommend a sturdy location hard drive instead of the Rugged? Cheers! Eren
  7. I just saw Les Misérables and it was phenominal. I congratulate Simon Hayes (AMPS) and his sound team for the amazing production sound in the movie, without which the brillant performaces and music heard in the movie would not be possible. Congratulations of course go to all involved in making the film, but the sound team deserves special praise to what they gave to that movie! If you work in production sound, you definitely need to see the movie
  8. So I'm shooting right now. And the Sennhesier G3 wireless is being strange. I'm using a SD 552 and have three lavs plug into to their inputs respectively. The signal seems to be going in and out, when I check them my voice varies in volume and the signal gets slightly louder then softer. Again they are g3 lavs and have OST mics on them. I've changed the frequencies to no avail, there is an ac on cause we haven't started shooting yet, but I don't think that would be effecting the signal level would it? The boom is ok though..any thoughts?
  9. I'm going soon to Qatar to film a documentary that is pretty much Qatar in the eyes of a blind man. Yes i did write it correctly so you can imagine how important sound is and specially atmospheres. So i wanted to buy a binaural mic that i could record some nice atoms with during shoot and after. As mostly is going to be during the shoot, i wanted something small and unobtrusive as i am by myself. Surround mic was a nice idea, but neither budget or space allow for it, and the only small one (Sanken WMS-5) is not available to rent in the UK. Looking at good small binaural microphones, i realised most are just two good omnis tweaked and positioned to work as 1 stereo/binaural mic. I realised, i have a few good omnis in my kit, the cos11 lavs. So i decided to create a mount for them to use them as binaural. I used a pvc tube and foam inserts similar to hush-lavs but thicker: The 'ears' i made out of Sugru to have a bit of wind cover (although the sanken wind cover fits inside too), for a bit of back rejection and to make it look cool: I use 2 Ambien EMP5S to connect directly to 48v phantom, but i can also use 2 wireless if needed: The size of the tube is so it can fit on my bag for on the shoot ambience, but has a mounting screw for a stand: I was going to upload some test recordings but i figured i'll wait and upload the actual ones i'll be recording on the documentary. Opinions welcome Thanks for reading Diego
  10. Hey guys, I'm re watching all the Star Trek TNG episodes (my friend got the DVD box set), and I'm wondering if anybody knows anything about the location audio on that show? What mics? Did they use lavs? Etc. A lot of the shots sound distant (suggesting boom) but sometimes I just don't see how you could get in there and boom it with the low ceilings. Also found a picture of a fisher boom on set: Anything info would be great!
  11. Hello everyone, I had originally posted this on the RAMPS google group, and was advised that I might get more feedback if I posted here. This is my first post at jwsound. I'm a former AV tech looking to transition into the world of location recording. I'm looking to volunteer, or job shadow, a location recordist to gain a bit of practical experience. I'm based in Toronto, Canada. I always show up on time, work hard, stay out of the way, and don't whine about assigned tasks. If anyone knows of opportunities for me, or if anyone has any advice for me, please reply. I will appreciate any information, and don't be afraid to be frank. Thanks for taking the time to read this. Sincerely, Marc-André Paquin
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