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Post by Vincent R. on Mar 10, 2020 11:36:28 GMT -6
I recently picked up the RØDE Wireless Go for video work. One of the things I've discovered in my video/film work over the past 5 months is that audio-wise, it's the Wild West out there. I'm astonished at how low quality the audio frequently is, and how little video/film people seem to understand about audio -- even very basic stuff. So I've had to get used to the idea that even fairly low-quality equipment is frequently "good enough." Speed matters more than excellence, at least above a certain (fairly low) threshold. The RØDE Wireless Go system is not high-quality, but I've gotten some quite good results with it. It's pretty innovative, and the lower quality is made up for by its speed in setting up and by its relative unobtrusiveness on camera. In fairness, it took me quite a while to really explore lighting and color grading my own videos, and my last video finally looks as good as my others have sounded. So it goes both ways. Lol.
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Post by the other mark williams on Mar 10, 2020 11:41:02 GMT -6
I recently picked up the RØDE Wireless Go for video work. One of the things I've discovered in my video/film work over the past 5 months is that audio-wise, it's the Wild West out there. I'm astonished at how low quality the audio frequently is, and how little video/film people seem to understand about audio -- even very basic stuff. So I've had to get used to the idea that even fairly low-quality equipment is frequently "good enough." Speed matters more than excellence, at least above a certain (fairly low) threshold. The RØDE Wireless Go system is not high-quality, but I've gotten some quite good results with it. It's pretty innovative, and the lower quality is made up for by its speed in setting up and by its relative unobtrusiveness on camera. In fairness, it took me quite a while to really explore lighting and color grading my own videos, and my last video finally looks as good as my others have sounded. So it goes both ways. Lol. Absolutely fair! For years and years, I (like most of us here, I imagine) have implicitly listened to every room as I enter it. I'm always aware of what a room sounds like, and I'm always thoughtful about how to harness it. But it's only in the past year that I've begun to notice light! My wife's always going on and on about light, speaking of it like a character in a story, and I've finally started noticing it for myself!
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Post by EmRR on Mar 10, 2020 11:46:29 GMT -6
I'm astonished at how low quality the audio frequently is, and how little video/film people seem to understand about audio -- even very basic stuff. The majority of video people I encounter in the field are openly hostile about audio. They think they can do without it. $10K cameras and $100 used wireless rigs in illegal frequency ranges.
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Post by Ward on Mar 10, 2020 12:41:54 GMT -6
I picked up a Legendary Tones Hotmod V2. Based on Mike Soldano's original Hotmod, which used a 6a10 dual triode tube, this ones uses two 12AX7s and plugs into the second tube socket. works on all 2203 and 2204 Marshalls. JMP and JCM.
EDIT . . . adding a very quick loosey-goosey video demo of it.
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Post by the other mark williams on Mar 10, 2020 12:42:09 GMT -6
I'm astonished at how low quality the audio frequently is, and how little video/film people seem to understand about audio -- even very basic stuff. The majority of video people I encounter in the field are openly hostile about audio. They think they can do without it. $10K cameras and $100 used wireless rigs in illegal frequency ranges. there are sooooo many things to be thinking about on a set, I can imagine sound is the last thing on a DP’s mind. Which is of course why you hire out the sound on a large-enough production. But a decreasing number of productions have the $ for that, it seems. It’s a lot to manage.
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Post by EmRR on Mar 10, 2020 15:21:04 GMT -6
The majority of video people I encounter in the field are openly hostile about audio. They think they can do without it. $10K cameras and $100 used wireless rigs in illegal frequency ranges. there are sooooo many things to be thinking about on a set, I can imagine sound is the last thing on a DP’s mind. All parts equal. Test of a good DP, there. Reveals one not so great. They sometimes forget they might be making a silent.
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ericn
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Post by ericn on Mar 10, 2020 18:09:51 GMT -6
I'm astonished at how low quality the audio frequently is, and how little video/film people seem to understand about audio -- even very basic stuff. The majority of video people I encounter in the field are openly hostile about audio. They think they can do without it. $10K cameras and $100 used wireless rigs in illegal frequency ranges. Most don’t get it, a lot of the cheap audio gear mentality might have to do with the fact that until Mackie and then all the made I. China gear came about audio field gear and all the little bits were expensive as hell with the exception of AT shotguns and Lavs those field lmixers custom mounts that were hand made always brought out pangs of guilt when pricing out a kit. So much of modern audio field technique seams to have grown out of Electronic News Gathering (ENG). ENG isn’t about getting it right it’s all about getting it quick, and even ENG skills seam to be falling off. Growing up in Wausau and then being in Madison that are both well known places to start your climb to the big leagues in the news world was a very different place compared to Houston and KC. Throw in the fact the Sony direct broadcast rep had worked for all the Madison stations ( how do you think an Oxford landed in a small market TV station) and you had well equipped skilled newsies.
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Post by Blackdawg on Mar 10, 2020 19:58:59 GMT -6
I'm astonished at how low quality the audio frequently is, and how little video/film people seem to understand about audio -- even very basic stuff. The majority of video people I encounter in the field are openly hostile about audio. They think they can do without it. $10K cameras and $100 used wireless rigs in illegal frequency ranges. Until the edit is done and then they realize their video/film sucks because the sound sucks. "Tv without picture is just radio, but Tv without sound is technical difficulties" lol The real good video makers understand sound is extremely important from the get go.
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Post by drbill on Mar 11, 2020 9:48:47 GMT -6
The majority of video people I encounter in the field are openly hostile about audio. They think they can do without it. $10K cameras and $100 used wireless rigs in illegal frequency ranges. Until the edit is done and then they realize their video/film sucks because the sound sucks. "Tv without picture is just radio, but Tv without sound is technical difficulties" lol The real good video makers understand sound is extremely important from the get go. Agreed. I suppose I've been lucky. Almost all of the film makers / videographers I've worked with understand audio and want to make it the best they can. It's very important to them.
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Post by notneeson on Mar 11, 2020 10:39:34 GMT -6
Until the edit is done and then they realize their video/film sucks because the sound sucks. "Tv without picture is just radio, but Tv without sound is technical difficulties" lol The real good video makers understand sound is extremely important from the get go. Agreed. I suppose I've been lucky. Almost all of the film makers / videographers I've worked with understand audio and want to make it the best they can. It's very important to them. I've been brought in when the generalist video kids (who can do quite a lot of stuff very well BTW) were struggling. Turns out they were running line level into a mic pre, thus the nasty sound. I was an instant genius in the TD's eyes, or ears. FWIW, my dad was a gaffer for many years, mostly on TV commercials. When I was on sets in the 90's it was always Nagras and boom mics. I suppose the advent of digital has helped create the myth that "anybody can do it." I mean, it's not hard to get right these days, but it helps if you have some basic signal flow knowledge, understand polar patterns, etc. etc.
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Post by drbill on Mar 11, 2020 11:54:11 GMT -6
Agreed. I suppose I've been lucky. Almost all of the film makers / videographers I've worked with understand audio and want to make it the best they can. It's very important to them. I've been brought in when the generalist video kids (who can do quite a lot of stuff very well BTW) were struggling. Turns out they were running line level into a mic pre, thus the nasty sound. I was an instant genius in the TD's eyes, or ears. FWIW, my dad was a gaffer for many years, mostly on TV commercials. When I was on sets in the 90's it was always Nagras and boom mics. I suppose the advent of digital has helped create the myth that "anybody can do it." I mean, it's not hard to get right these days, but it helps if you have some basic signal flow knowledge, understand polar patterns, etc. etc. no doubt. Might have something to do with this mentality : . Cause all you need is a phone - right? heh heh
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ericn
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Post by ericn on Mar 11, 2020 12:06:06 GMT -6
Agreed. I suppose I've been lucky. Almost all of the film makers / videographers I've worked with understand audio and want to make it the best they can. It's very important to them. I've been brought in when the generalist video kids (who can do quite a lot of stuff very well BTW) were struggling. Turns out they were running line level into a mic pre, thus the nasty sound. I was an instant genius in the TD's eyes, or ears. FWIW, my dad was a gaffer for many years, mostly on TV commercials. When I was on sets in the 90's it was always Nagras and boom mics. I suppose the advent of digital has helped create the myth that "anybody can do it." I mean, it's not hard to get right these days, but it helps if you have some basic signal flow knowledge, understand polar patterns, etc. etc. One of the biggest problems has always been Automatic Level Control built into lower priced capture devices. In the old days the cheapest way was to sell somebody a camcorder and a VCR ! It was a mess, the only affordable one piece solution was to sell them a Cannon.
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Post by notneeson on Mar 11, 2020 12:26:54 GMT -6
I've been brought in when the generalist video kids (who can do quite a lot of stuff very well BTW) were struggling. Turns out they were running line level into a mic pre, thus the nasty sound. I was an instant genius in the TD's eyes, or ears. FWIW, my dad was a gaffer for many years, mostly on TV commercials. When I was on sets in the 90's it was always Nagras and boom mics. I suppose the advent of digital has helped create the myth that "anybody can do it." I mean, it's not hard to get right these days, but it helps if you have some basic signal flow knowledge, understand polar patterns, etc. etc. no doubt. Might have something to do with this mentality : . Cause all you need is a phone - right? heh heh Luckily this outfit didn't skimp on camera and lighting gear. But we did do an event at Google one time where they tried to use GoToMeeting on everyone's personal phone for comms instead of renting enough walkies. That was a total failure.
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Post by Deleted on Mar 11, 2020 20:15:07 GMT -6
Henriksen Blu 6 amplifier. Saw this when it was rolled out at NAMM a couple of years ago and was seriously interested. I've wanted a nice clean small amp for a long time. This really checks all the boxes for me. I've put my big archtop, a couple of solid-bodies, a small nylon-string w/pickup and even a fretless bass through it. For the guitars it's got more level than I'll ever need--by a long shot. For bass, it's still got enough to keep up with a 5' grand in a jazz format (it will support an extension cab if you're serious about bass). All this in an amp that's a 9" cube weighing 12 pounds! There's also a bluetooth input (if you want to add trax for a small club gig), a 5-band EQ that's nicely thought-out, a balanced line-out and an FX loop. It also solves the talkback problem I've run into when I record classical sessions. The combo input can also accept a mic and provides phantom power. Small jazz amps have been around for a while, but many of them (Jazzkat, Polytone, etc) are long gone. Henriksen has been around a few years and has made an amp that's more flexible than those were. I used to get excited when amps were big. It's a lot cooler when they're minuscule. www.henriksenamplifiers.com/product/the-blu/
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Post by Blackdawg on Mar 11, 2020 20:24:01 GMT -6
Until the edit is done and then they realize their video/film sucks because the sound sucks. "Tv without picture is just radio, but Tv without sound is technical difficulties" lol The real good video makers understand sound is extremely important from the get go. Agreed. I suppose I've been lucky. Almost all of the film makers / videographers I've worked with understand audio and want to make it the best they can. It's very important to them. I've been lucky lately by experiencing the same. But have plenty of experience with trying to fix something for someone when it's too late haha
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Post by iamasound on Mar 12, 2020 15:50:18 GMT -6
I picked up a Golden Age Project Pre 73 MKIII Plus for very little geld. I never had a 1073 type Pre and thought that this might actually be decent what with the upgrade of Carnhills in and out, no discreet circuitry in the signal path and tantalum capacitors plus handy switchable impedance in MIC mode, 1200 or 300 Ohms. I haven't received it yet so we shall see what we shall hear.
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Post by Guitar on Mar 12, 2020 17:00:07 GMT -6
No integrated circuitry you mean? Sounds like a cool preamp, I love those Carnhill transformers--absolutely love them in mic pres.
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Post by mulmany on Mar 12, 2020 17:52:53 GMT -6
AMI TAB u47 with M7.
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Post by sean on Mar 12, 2020 22:27:06 GMT -6
Bought TDR Limiter 6 GE...didn’t want to throw down the money for Pro-L2 and after watching their wonderful demo I think it’ll do what I want.
Also for $18 bought PSP Nexcellence.
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ericn
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Post by ericn on Mar 13, 2020 17:53:53 GMT -6
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Post by Guitar on Mar 13, 2020 18:13:35 GMT -6
Bought TDR Limiter 6 GE...didn’t want to throw down the money for Pro-L2 and after watching their wonderful demo I think it’ll do what I want. Also for $18 bought PSP Nexcellence. I just used Nexcellence on a clarinet patch and it sounded kind of wonderful, really. Not that springy, either, just a good ambient stereo sound.
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Post by mulmany on Mar 13, 2020 18:56:41 GMT -6
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Post by Bat Lanyard on Mar 13, 2020 20:41:52 GMT -6
These guys (different op amps in each) and an Echo Fix Roland Space Echo full refurb kit.
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Post by winetree on Mar 14, 2020 0:25:20 GMT -6
Picked up a pair of these. I rebuilt my Roland 201 Space echo with the Echo Fix complete kit. Came out great.
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Post by nick8801 on Mar 14, 2020 14:59:07 GMT -6
Loving this Vermona spring reverb I picked up. Nothing like outboard gear, even in the reverb world. Here’s a clip of me using it on an old percussion track I recorded a few years ago. I turn it on and off so you can really hear what it does. www.dropbox.com/s/01bdeciu18vyrmf/Verb%20Return.wav?dl=0
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