Here in the San Francisco Bay Area there are not a lot of audio retail
stores where one can test gear, so I'm throwing this question out to
the masses.

I currently have an older VdB nine-foot internally-cabled boompole. It
has it's own merits and faults. It often makes me crazy. One thing I DO
like is its ability to be loose enough to be able to expand and
contract silently while still being tight enough to keep microphones
from rotating. It's a delicate balance. It's especially useful in run
and gun docco situations where there's no time to loosen individual
collars during a shot.

I'm looking for a longer, 5 section, pole in the twelve to fourteen
foot length range with the same ability. The K-Tek poles I've been able
to test haven't been able to work in this way. They DO lock really
solidly, however.

Has anybody got any experience with the PSC Elite, newer Vdb, Ambient,
Panamic poles that can help me make a decision? I briefly tried an
older Ambient pole at Gotham Audio in New York a few months ago, but it
was a rental item so I'm not sure about the newer ones.

Thanks!

Are Alvin and the Chipmunks and Charlotte Church the same individual?

Wondered if anyone knows of a freeware program about that converts SD2
files to BWF - I could do it on my Nuendo or Protools rigs (hence not
so hasty to want to spend any money) but I'm hoping something simple is
out there, preferably that could batch convert and/or change metadata
descriptions. Followed a url lead from Wolf's SYNC (an edition or two
old) but it no longer works.

Cheers all,

Jez Adamson
UK sound bod

On Dec 10, 11:54 pm, soundchaser2...@hotmail.com wrote:

I feel your pain, I came from a beginning pushing boxes into trucks at
3am...

The saying about opportunity showing up in overalls and requiring some
hard work comes to mind.

Douglas, the poster want's to get into "Post Production" mixing, not
location sound.
--
Martin Harrington
www.lendanear-sound.com

"Douglas Tourtelot" speakeasy.net> wrote in message
news:3oqdnc5uMqvk5ODYnZ2dnUVZ_ruknZ2d@speakeasy.net...

I have a Sennhieser ME-80 with a K2-U power suply that has served me
well for years. Recently it has started acting funny.

I usually attach it to my camera with a 10 foot or coily cable and use
it for B-roll and quick interviews. I plug it in to the camera and
power it with phantom power (the batteries are a pain to get).

It will sound great for a while and then I start hearing static from
it. Especially if it's being handled hand held (no boom pole). It
starts slowly, and then gets much worse, and is intermittent. It's
happened with at least two different cables so I don't think it's the
cables. I usually end up disconnecting the mic' from the cable for a
few seconds and then plug it back in. It's fine for a few minutes and
then it starts again. It does seem to stay ok longer if I leave it
unhooked, but that's not usually an option when I'm working.

I used it this weekend and it sounded like the static might actually be
effecting the other audio channel! That doesn't seem logical to me but
the issues stopped as soon as I disconnected the ME-80.

Does any one have any idea what causes it and if it can be fixed?

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@ YouTube

http://www.youtube.com/watch?v=Z7iQRFP_e90

I've found a nifty yet inexpensive pole case. It's made of PVC with a
cordura covering and has a sheep skin lineded pouch at one end that can
accomdate a shockmount and coiled boom cable. The one I bought cost
$30 and holds a 32" pole.
see at:

http://www.basspro.com/servlet/catalog.CFPage?mode=article&objectID=29010&catID=48&cmid...

FWIW

Mitch

Hi all.
Looking for some second opinions here.
I am in the last week of a Viper shoot and they will now be mixing in
real film shooting as well.
Smart Slates are clapping around the world!!
Currently I am TC slave to the viper.
Recording on Metacorder and backing up to 744T. All at
23.98/48khz/24bit BWFpoly.
Editorial has already instructed me to stay at 23.98 even when we break
out the film camera as they will be doing a DI and not doing a negative
cut.
My question comes in the intermixing of the 2 formats.
Even if we are still shooting the Viper when we shoot film as well,
should I stay as slave to Viper and run hardwire/wireless Rec Run smart
slate for the film camera?
But then if we shoot strictly film, I will have to break workflow and
treat this as a "normal" film shoot, correct?
What I want to do here is confuse post as little as possible.
Once the film camera comes out, regardless if they are shooting Viper
alongside or not, I think my best, least confusing route would be to ...