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Found 10 results

  1. December 2015 Newsletter: The Topham Family, Stocking Stuffers, K-Tek Year End Sale, and more: http://beta.mynewsletterbuilder.com/email/newsletter/1412512522
  2. Hi, After an unsuccessful negotiation with New Bay Media on what they want to own and pay writers, I have moved on to Markee. Editor Tom Inglesby asked me to talk to location sound rental houses for their June 2015 issue. Tom has allowed me to cross-publish the article to my blog. I hadn't read Markee in some time and upon seeing the e-issue, thought it was a good read. Actual articles on audio! Here's a link to the new issue. Regards, Ty Ford
  3. http://www.pro-sound.com/lectrosonicslseriesreview.html Lectrosonics L Series Review The L series is a great addition to Lectrosonics robust Digital Hybrid Wireless family. The best feature is the fact that the L series covers 3 standard blocks or about 76 MHz, allowing greater flexibility while in the field and adaptability to the dynamic situations that arise in film making on location. I can see where Lectrosonics is going with this. This system is perfect for an ENG setup where you need the flexibility of 3 blocks. For example, say your shooting a reality show, where you only have one chance to capture the audio. No pressure right? You scout the location the day before, check the frequencies on your wireless sets, and everything looks good. Block 21 is clear as day and there are plenty of frequencies available. No planes, no refrigerators, no humming from lights on scene at the time. Batteries are all fully charged, lav mics checked and sound great, Lectrosonics flask filled and fully ready for the free lunch speech. You head home, get some rest, and wake up for the 6 am call time. This can play out in 2 scenarios: Scenario 1: Your on a wireless system locked in to block 21. You arrive on location and get ready to set up. Quick scan of block 21 and.... not good... The whole frequency scan bar is black... and all you have is block 21. You think there must be some error so you take out the batteries and put them back in, turn it back on, rescan.. and... all frequencies are completely saturated. Then talent arrives and sets up a refrigerator for their favorite beverage, lighting decides to switch to florescent lights at the last minute instead of natural light, and you learn that all air traffic has been re-directed to directly above your location. Scenario 2: Your equipped with the Lectrosonics L Series and have a full set of multiple LT and LR wireless systems on the B1 band, covering blocks 21, 22, AND 23. You arrive on scene and do a quick scan.... Block 21 is completely saturated! But, no need to worry, you switch to Block 22. Quick scan and... its got some peaks and valleys and doesn't look that great either... Switch to block 23... quick scan... clear as day! You quickly sync to block 23 with the IR scanning sync tool and are ready in no time. Talent arrives on time and decides to leave the refrigerator at home, lighting decides to stick with natural light, and air traffic hasn't been re-directed above you. You do 1 take and the producer loves it, decides to take everyone out for steak, and pays everyone on the spot. While the L series can't solve all your problems on set, the L series wideband tuning range of 3 frequency blocks allows you greater flexibility and adaptability while in the field. The IR sync also saves time, set the frequency on 1 unit and auto sync the 2nd one. 50% time saved right there. Range is comparable to most other Lectrosonics units, with the benefit of the entire unit being lighter. Overall, this is one of the best wireless systems I've seen in a long time. -Rich Topham
  4. Thanks to Alex Milne of RFVenue for coming out to NYC, full interview available here: http://blog.rfvenue.com/rich-topman-of-professional-sound-services/
  5. We're exhibiting at DV Expo East, June 19, 2013 at the Metropolitan Pavilion, 125 W. 18th Street, NYC. You're invited to be our guest at the Expo with a free exhibit hall pass (a $25 value). Register with code EXH and join us at Booth #34. Click Below to Register http://www.pro-sound.com/ProfessionalSoundServices.html See you there!
  6. Rich's Recommendations Grab yourself a free NAB Guest Pass with our Guest Pass Code: LV5597. You can find us at Booth # C2156 at the Las Vegas Convention Center April 8th-11th I will be speaking at NAB. Don't miss it. Details below Event: PAP - Sound Education with Richard Topham, Jr. Time: 1:30 PM - 1:50 PM Location: LVCC, Central Hall, Booth C3155 As Bob Dylan once said, the times they are a changin'. Our New Orleans store will be under new management. Here are some parting words from Dan Izen. "It’s only been 6 months, but I’m going back to being a customer of Professional Sound Services. Yep, I’m leaving the new store and returning to the freelance world of sound recording. I miss being on set and hitting that record button. New Orleans is a great place to have this sound store and I’m proud for my role in starting it. I’m even more proud to be handing it off to a far more accomplished sound mixer, Richard Van Dyke. With his immense knowledge base and incredible amount of experience, I know the store will be in good hands." -- Dan Izen Thank you Dan for all the hard work you've done for us over the last six months. On that note, I'd like to personally welcome Richard Van Dyke as our new Manager in New Orleans. Rich and I go way back to the old Audio Services days. Richard can be reached at our New Orleans office at 855.309.7112, or by e-mail at rvd@pro-sound.com. His biography speaks for itself. See you at NAB! Biography Richard Van Dyke was born into a family with ties to Hollywood, his paternal Grandfather was an actor in the silent film era, Truman Van Dyke, and his paternal Grandmother was an Academy Award winning costume designer of over 200 feature films. Richardʼs Father, Truman Van Dyke, Jr. worked as an actor and extra from the age he was nine years old up until he entered the University of Southern California. Richardʼs Father appeared in “Gone with the Wind,” at age nine and worked on many productions including working with the great Orson Welles on the film, “The Stranger.” Richardʼs Mother was the longtime producer for Edith Headʼs traveling fashion shows. Having a family history like that it was almost inevitable that Richard would end up in the film industry, just where was a mystery until in 1973, while still in High School, Richard got a job as a deliver driver at the post production sound studio, Sound Services, Inc. While working at the sound studio Richard was exposed to all aspect of film sound, from production to final mixes. His mentors there were the owner Robert Terry Walker, and Michael Denecke, who worked as the maintenance engineer on the gear and built many of the patch bays at SSI. It was during this time, at SSI, that Richard first learned of the job of “production sound mixer,” the person responsible for recording the initial dialogue during the filming of a scene. Under the tutelage of Michael Denecke, Richard learned how to work the Nagra tape recorders, the state of the art machine at that time, and was responsible for helping to maintain the rental equipment at SSI. Another duty that Richard performed at SSI was the “transferring” of sound from the “daily roll” to film sound stock, known as “dailies.” This task gave Richard the opportunity to listen to the work of many production mixers of the day, Jeff Wexler, David Ronne, Lee Alexander, Jan Brodin, to name just a few. While doing the dailies transfers Richard learned what the job requirements, and expectations were for the production mixer. In 1976, with the encouragement of both Robert Walker and Michael Denecke, Richard started to “mix” commercials on his own. These were mostly small jobs with clients that Richard had met through his time at SSI. Interspersed with the mixing jobs were a few “boom operator” jobs, this is the person who holds the microphone just out of frame, and follows the actors around the set keeping them “on mic.” Richard realized early on that he felt he was better suited to the job of Mixer, than that of Boom Operator. In 1977, Richard left SSI and pursued a career as a Production Sound Mixer. Early in Richardʼs career he worked solely in the field of commercials, these were a perfect training ground for a young mixer, as the shots were fairly simple and it gave him the opportunity to build up a resume and confidence in his abilities. 35 years later, Richard is a member of a very select group of Mixers, those whoʼve mixed multiple Best Pictures, Richardʼs are “American Beauty,” and “Crash.” Richard has had the great pleasure of working with some of the top directors of the day, Mark Romanek, Ridley Scott, Sam Mendes, Martha Coolidge, Steven Soderbergh, Warren Beatty, Garry Marshall, McG, James Mangold, Paul Mazursky and Paul Haggis to mention a few. Richard has worked in every medium of film, documentary, commercial, industrial films, television series and feature films. This gives Richard a well rounded understanding of all aspects of the movie business, and the requirements of the sound department on any type of production. When Richard was starting out on his career in production sound there was a company starting out on their journey, and that business was Audio Services Corporation. Dick Topham, and his son Rich Topham, Jr. came out to Los Angeles to fill a need for a company that would supply the needed and necessary products to the film sound professionals. This was the start of a relationship between Dick Topham and, Rich Topham, Jr. and Rich Van Dyke that has lasted for 35 years.
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