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  1. Hello Just want to show you something new - Studiomaster digiLivE 16 . Finally a great digital mixer with 16 inputs/ 8 analog outputs (*digital outputs also available) and the most important thing is the power supply - 12 volt DC !!! So no need of any additional power convertors. Also the size is really good. 100mm faders and HD touch Screen. The price is more than good - Didn't see it yet but I plan to check it out. Studiomaster digiLivE 16 https://www.amazon.co.uk/Studiomaster-digiLivE-Digital-Console-Motorised/dp/B01KFZZAV8
  2. Hi, I'm currently looking at options for a 4 x input stereo mixer. I currently use an SD 302 in front of a 702T. It's a combo that I'm very happy with for the majority of my work (mostly interviews, voiceover work, SFX gathering, and the occasional dramatic exercise, although nothing too large scale, obviously). I really only got a mixer initially to ride levels on a mono track, usually using a single, boomed mic. But the interface has been invaluable to me for its great metering, limiters, etc., and the SD has never hiccuped. I've grown into it happily. I do occasionally find the need now for more inputs, now that the work has become a bit more complex, with wireless systems now more available, and even the occasional two-boom setup. I'm also simply curious about the sound quality provided by other top shelf work horse units. I was recently helping someone who was managing dialogue on a Cooper CS-104 and was treated to a set of cans during a few takes, and I was impressed with the sound that I suspect the mixer was providing. Really clean but steeped in character when booming. The rest of the kit/mixing approach was pretty familiar to me, so this is why the CS-104 caught my attention. He was a big fan of it, and from my research I'm fairly familiar with what it offers in it's unmidified version(s). I'm looking at a CS-104 currently that is in really good condition and that comes with some cables and a bag. It has peak meters. But with the recent slump in enthusiasm for the separate mixer / recorder paradigm, in favor of the recent combined mixer/recorder offerings from Sound Devices and others, the 442 and other once prohibitive options are super reasonably priced. Can anyone speak to the integrity of the Cooper as a workhorse whose sound and robustness is worth the trouble of owning a discontinued unit? Is it simply dumb to pick one up when the 442 is now so havable? Build quality, ease of use, and sound are definitely my top three requirements. I'd be interested to hear about how this mixer works for those who have to make a bag setup work for just about everything, and who want to get as much original dialogue on set as possible via boom and a few wireless units. It's been awhile since I've attempted to post here, but needless to say the info from this group has been very helpful to me in recent years. I know the post is long but I just thought I'd provide some background and see what advice folks can offer a young guy trying to maximize a modest setup. Thank you so much in advance. Isaac
  3. I managed to download one the size of a postage stamp! Can any one help please? mike
  4. Fellow sound mixers! I wanted to get your feedback on Los Angeles non-union rates. I recently upgraded and bought more gear. So I wanted to share with you my gear and see what you guys charge. That way I am not under cutting other mixers or being offered less then a fair rate by clients. So again what would your labor rate and kit rate be? Also what would your kit include before you start charging a la cart? Thanks for your time with this. Below is what I currently have (1) Sound Devices 664 6-Channel mixer/recorder (3) Zaxcom TRXLA2.5 transmitters (2) Zaxcom QRX200 & QRX235 ENG receivers (3) Countryman B6 Lav mics + all mic accessories (1) Sennheiser MKH-60 Shotgun mic (1) Zaxcom Camera Link Transceiver (2) Zaxcom ERX2TCD IFB/Camera Link Zaxnet Audio & Timecode Receiver (1) ENG Breakaway Cable for Sound Devices 664 with various camera ends (1) 9-ft K-Tek boompole (1) Rycote Softie
  5. Ive been asked to help give advice (probably free) for some people hosting a bike race here in South Africa. There is the post race gibber and IVs etc. The guy wants 10 (mono prob) outs from the 2 in he is getting (Interviewer and Talent). Ive not done this before but suspect it may be an issue as when I do live stuff and ask for a feed from the desk (even fancy big ones) they (engineers) are always reluctant and outs are often at a premium at big events. Im inclined to make sure we get a great copy of the audio and if the press need good audio they can get it from us after the event (maybe even during). Is there some kind of splitter box to take the stereo out from a Mixing desk and give me 10 mono copies? We dont really want 10 mics in front of the talent hiding him from the camera... Another idea was one transmitter and 10 receivers set to the same channel. There are many ways to skin a cat Whats your way. Essentially its to get the same signal to lots of different press/camera people.
  6. I'm in Edmonton, Alberta, and I'm available for work. I'm a boom op and a mixer, usually doing run-and-gun on microbudget films. I'll be busy on a feature for the last half of April, but I'm mostly open until then. I'm hoping I can pick up some work from this forum. Here's my website: www.gallinger.audio
  7. Toronto Based Sound Recordist/Boom Op looking for work. I have 3 years of experience ranging from Features/Shorts, Web and Commercial content. I am willing to travel and I also have my own gear, which can be found in the link to my website below. http://www.amsoundservices.com/ IMDb Page: http://www.imdb.com/name/nm7444726/
  8. I have just taken delivery of my SD 633, upgrading from my 302 (which Ill keep to add 2 more mic inputs to the 633) Anyway... I'm going through the settings on my mixer and getting things configured to the way I think I will be using it mostly. Is there a place here for a thread about users setups of their pieces of equipment and their personal configuration. Maybe headphone assigns and why, outputs, metadata setup etc. I'm sure there are many people here who have nifty tricks and reasons for particular configs and setups that I would never think about or have not come across. It would be good for me to read what people think are essential to their setup and workflow. Maybe have a thread for each unique piece of equipment and the users setups and reasons under that? This would also be useful for people hiring gear they were not that familiar with or when they buy new gear. I could just search the thread for Sound devices 633 and find 5 different peoples setups, maybe they are all the same, or maybe all different or there is overlap.
  9. Hi everybody. I recently purchased a SD 633 that I love. My only issue is with the internal slate mic, it sounds crapy, hi-medium with some resonnance. Do you have the same feeling with yours? It's no big deal but I'd like to know if mine has a problem, or if it's just normal. Thanks
  10. I haven't dig deep into sound yet because I learn better when I play with toys than just reading about them. Please pardon my inexperienced. I been interning under a wedding videographer and we have been talking about me becoming a dedicated sound for the wedding. How could this be done theoretically? Should I have many wireless lav plug into my mixer during the ceremony? And I think I would just walk around with a short boom for everything else. You don't have to go into the nitty gritty detail. I just want to know if this could theoretically be done.
  11. Greetings, if any of you need a mixer/boom op in Hungary, feel free to contact me! My own equipment is fit for doc or short films, if You have your own, I can probably handle it. For example: I've been working on Marco Polo (Netflix) and Dracula (NBC) series as boom op/assistant. Cheers Samuel_Lehoczki_CV_2016.pdf
  12. Hello all! So, the Zoom PCF-8 bag for the Zoom F8 recorder.. Looks ok. I'm probably going to be using AA's as a power source so I'd like to be able to swap them out quickly and easily. However, if you look at the underneath of the PCF-8, it has a strip of black material preventing you from accessing the battery door and removing the sled. Weird. What's the point of that? See attached. Happy enough to delete it with a stanley knife I guess, but I prefer to start hacking / modifying my gear when it's a few years old, not when I've just bought it :o) If I'm missing something simple, do share. Cheers, Stuart.
  13. Howdy fellow sound peeps! I figured i will get the ball rolling with a topic about the 633 and the CL-12 and what we want and what we think! I am about to buy one and saw that it doesnt have an EQ which i assume is a hardware limitation but i am happy to be corrected! But otherwise it looks dam sweet! Will try and give feedback once i start using it and feel free to bump this to another form if its been talked about as i couldn't find anything as of yet. Cheers, Piotr
  14. 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/
  15. 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
  16. Hello all! My name is John Harton and I'm a recently graduated Sound Design student from the Savannah College of Art and Design. My wife and I are moving up to Atlanta after I get back from a gig in CA in about three weeks and I wanted to put myself up if anyone needs a boom operator or utility. I'm looking to ultimately get into narrative work and also recently wrapped my first feature as a boom op ("Christine" which shot in Savannah). I'll be at the ATL sound mixer mixer at the end of the month, but if anyone has work they need help with or have to pass up, I'd appreciate any and all the help I can get! Can't wait to get involved in the Atlanta sound community, from what I hear the sound crews of middle Georgia rock a mic like none other! Feel free to PM or call at 970-two three two- 6840 . Cheers!
  17. For those of you who want to dig a little deeper into the SuperSlotTM open standard .... http://superslot.org/
  18. Looking for a production mixer for a documentary shooting in Dallas, Beaumont and Odessa, TX March 24- April 2nd. Please email Melissa Shea at melissa.a.shea@gmail.com
  19. I've looked and read through many different forums and websites trying to get a straight answer, but I'm not 100% clear on what I need. Here is the situation: I have a multicam interview shoot with one ARRI Alexa and one ARRI Amira. They want timecode to be synced between cameras and the sound recorder without being tethered. I am recording on a Sound Devices 552 mixer which doesn't generate timecode. What I need is a straight forward explanation of what I need to rent to make this happen and how to set it up. Does anyone have any input? As a side note, I do NOT want to record timecode through XLR, I want to use the TA3F Connector so it timestamps the audio file. I've never had to sync timecode before, so talk to me as if I'm a complete moron in the matter. PLEASE any thoughts and references would be much appreciated.
  20. In need of a 208D and a mix 12 Please contact Philippe: prisedeson@hotmail.com
  21. Reality sound mixers (and camera ops), check this out! No more survelllance tube blocking one ear! Announcing a new product available at Location Sound Corp: http://www.locationsound.com/tony-smyles-comm-biner-walkie-audio-interface-1854 Professional Sound Services: http://www.pro-sound.com/Merchant2/merchant.mvc?Screen=PROD&Product_Code=SSMYLESCOMM&Store_Code=PSS And at Trew Audio: http://www.trewaudio.com/consignment/mixer_acc/ Or contact me at comm-biner@tsmyles.net for more info.
  22. Hey crew. Will try to bring you up to speed with my thoughts / needs and hoping for some opinions. Sorry if this post is a little all over the place. I have been using a Fostex PD-6 for some years now and frankly love it aside from a few things. Namely the time consuming data transfer at the days end, and some specific functionalities. Have always ogled over other mixers using the Devas and feel like I'd much prefer Zaxcom than a Sound Devices. I am primarily a cart mixer however the past few shows have required fast switching between cart and portabrace bag set ups. Therefore I have built a smaller "bag cart" and been mixing without the EX-12 extension to the PD-06 (read as: more annoyance with data management/transfer) I must point out that I am young and in a state of growth. Starting to work on larger productions. The Fostex was a great solution for some years due to the price point and bang for buck. Wanting to move to something with less hassle transferring and managing media, I considered the Nomad, however for many reasons I considered the SD 664 but 48kHz max is a deal breaker. I record SFX libraries as well and need high sample rates. I've ruled both the Nomad and Fusion out. I've come to the conclusion that the Deva is the way to go (after reading a lot of user manuals, still have not tried any of these and plan to.) I will be buying used. I would like to find a Deva in good condition with accessories, (cables, portabrace, hard case, drive caddy's etc..) just as I did when buying my PD6 years ago. Since the driving factor is moving to solid state / flash media, I believe that the Deva 5.8 to be the best option. However, I do not see many used compared to the Deva V. I am aware the Deva V can use flash media (via USB?) but is this only to transfer data after its been recorded? I very much like the idea of being able to burn a DVDRAM (I still have many, and the luxury of handing some disks to DIT and going home is quite nice,) That said, does the Deva V burn regular DVDs or DVDRAM?... Additionally I like the idea of having CF cards as well and the internal spinning hard disk for longer record times etc. Regarding price and being realistic, a Deva V seems so much more attainable at my current budget level and based on availability (looking in the JW buy and sell and Trew audio consignment for example) However having only 4 pots for mixing in a bag is a concern to me and also the lack of integrated compact flash media (unless plugging in via a reader is truly reliable?) I will eventually get into a mix-8 or mix-12 for the cart so a Deva V would be more workable mix wise, however I don't want to shoot myself in the foot with buying a machine thats "too old" like the FostexPD6.. Part of me keeps coming back to the Fostex PD-606. Perhaps I am jumping too far ahead and should consider the PD606.. I like the Pd6 and always thought I would advance to the bigger brother in the Fostex line. However I am really trying to get away from "buy cheap , buy twice" Once again, sorry for the scattered thoughts in this post. I plan to buy in the spring / summer of next season so I do have some time, but this investment is weighing a lot on my mind and I would like to really hash some things out by getting the opinions of some folks who have first hand experiences with these machines. Thank you for taking the time to read this. I will answer any questions you may have and post more thoughts and details as they come to mind. I appreciate your opinions!
  23. Captain Chris Wade and the SeaWatch SharkBoat is about to leave US waters on a mission to save sharks in Costa Rica's beautiful Isla de Cocos with a crew of 10 and boat full of GoPros, Canon 5D's, DSLR's and Final Cut, ProLine, etc... Every moment of every day will be documented. On the Boat (handheld and fixed), In the water (drones and diving), in the air (drones). This is a self funded production in conjunction with The Shark Research Institute and SharkBoat.org. Does anyone have any suggestions as to individuals seeking a write-off to a 501c3 for 2014 in exchange for some used/unneeded gear (Booms, Wireless, Mixer, etc...) that could be donated for this amazing project. Or a sound person/ DIT looking to come to Costa Rica for 6 months on an unforgettable journey that is assured to capture content that no one has ever seen before. "The Pirates of the Pacific" are about to enter "Blood Waters" and could use your advice!
  24. I just noticed that Marenius has come out with a new mixer/recorder model (not sure how long ago). This time it records four inputs as well as a L/R mix. Read about it here: http://www.marenius.se/audiodesign/mm-4240.htm Manual: http://www.marenius.se/pdf/MM4240%20manual.pdf
  25. I'm in Paris, France for the months of September and October of 2014. I can offer my services as: Cameraman, Sound Mixer, local Line Producer or Interviewer -- while I'm here. Normally I'm based in New York. My native language is English, but I speak fluent French. Please send me a PM through this forum for more information + my website.
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