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The Nagra VI, One Year Later
The Nagra VI, One Year Later… “Under-promise, over-deliver”. When this philosophy is behind a product, the customers who use it are well served. It is the sign of a confident and mature company, a hallmark of Nagra, and it is apparent in the continuing history of the Nagra VI. Possibly the best thing about the […]
READ MOREAn Evening with the Deva
One way I keep my hands and ears in sound mixing for film and video production is to fill in for Trew Audio customers who, for one reason or another, need someone to fill in for them. So, when Kevin Smith’s usual sound mixer, Atlanta-based Whit Norris, found himself booked in San Juan, Puerto Rico […]
READ MORECommunications options for the CL-9
Since the Sound Devices CL-9 hit the blogosphere, views and how-to’s have filled the web. Instead of rehashing what the CL-9 is designed to do, I’ve decided to take a practical approach to using the communications section of the new control surface. If the boom operators wish to listen to the same mix as […]
READ MOREWindscreens and Mounts: The Basics
The human hand can be a reasonably good suspension device. In most film and video production situations hand-held mics are not effective, one arm is too short. We need to mount the mic on a rigid pole. The rigidity of the boom pole is where the problems begin. Boom poles transmit vibrations rather well, some better than others. Many clever
READ MORENoise in the 788T headphone output when used for return monitoring, demystified.
There have be many reports, recently, of mysterious and unacceptably high noise levels when using the Sound Devices 788T headphone output as a send for return monitoring with a mixer. The reports went something like this: “When using the headphone output of the SD-788T as a send for “tape return” monitoring, there is considerable hiss, […]
READ MORELectro line level input cable recommendation
While wireless microphone transmitters are normally thought of as being used with microphones, we often use them for line-level signals, such as when tapping into mixing board feeds or when using them as wireless “camera hops” to a camcorder. It has been determined that the previously recommended line input cable sometimes forced the transmitter limiters to work too soon and
READ MOREBalancing Act
Circuit vocabulary is important in our industry, to say the least. I often use terms which I know are correct, but don’t fully understand. So today is a learning day for me, and I thought I’d bring you along for the ride. We’ll start with some audio circuit basics and I’ll try to define them […]
READ MOREThe Four Horsemen of Troubleshooting
When the crew is looking at you, the only person who isn’t ready to roll, you may hope for the Apocalypse. Alas, it is time to start troubleshooting. Checking cables for shorts, gear for correct settings, battery life, and the source of that stupid hum can drive you mad. One of the most difficult tasks […]
READ MORESecret Jargon
As I listen to our sales manager John instruct our newest Nashville salesperson, Stephen Reter (welcome Stephen), I am reminded of my first days at Trew. Nearly five years ago, I was a studio/ live sound minded audio nerd, with some dabbles in the world of broadcast audio. When I began taking sales calls I […]
READ MOREAre you REDy?
Updated March 12, 2008 For almost three years the industry has been anticipating the RED ONE DIGITAL CINEMA CAMERA. As with many aspects of our industry the visual seems to push the market and the audio is left to keep up. Until February 08, the actual audio I/O connections have been theoretical. We know it […]
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