Tim Stephan hails from Hamburg, Germany. A Filmtonmeister for over 10 years, both in Europe and abroad, we talk with him and find out more about his experience and advice for working in the film sound industry. Read more →
We had the chance to do a test comparison of two variants of the Bubblebee Invisible Lav Covers – Original and Fur Outdoor at London Bridge Beach in Lake Havasu City, Arizona. With a fair bit of wind out it was ideal conditions for using The Invisible Lav Covers to record clean and clear dialogue.
Read more here…
We interview production sound mixer Chris Welcker. A New Orleans local all his life, Chris started out in music and media and quickly found his niche in production sound. Since 2007 he has worked his way up through an impressive list of films including 12 Years a Slave, Jurassic World, Keanu, Jack Reacher: Never Go Back, Queen & Slim, to mention but a few.
Learn about his experience, team, gear and the attitudes required to deal with the pressures of being in charge of sound on set.
Read the full interview here…
We’re at Mediatech 2019 right now until the 19th July!
Come pop by our stand B2 and see some of our latest products like:
– The revolutionary Lectrosonics DSQD 4-channel HALF RACK receiver with Dante™
– Sanken CSM1 Sanken CS-M1 – Short Shotgun Microphone
– The virtually invisible Bubblebee Industries Sidekick In-Ear Monitor
– Viviana body straps
– Bubble Industries – The Windbubbles
– Bubble Industries – Lav Concealers for various mics
And much, much more!
Turn right as you come through the Meditech entrance and you’ll see us there! Stand B2
“Not only is all my tone there, but the response is so immediate that I forget I’m even using wireless.”
(June 25, 2019) — With dozens of dates around the world and a show in which the band is as much a part of the choreography as the dancers and acrobats, Pink’s Beautiful Trauma tour is no place for musicians to be tied down by instrument cables. Yet longtime bassist Eva Gardner was frustrated with wireless systems that didn’t preserve the tone and response she required for her crucial role in the rhythm section — until she and her bass tech Ruff Stewart discovered Lectrosonics Digital Hybrid Wireless®, including LT transmittersalongside LR and R400a receivers.
“The big risk when you go off the cable is that your sound can suffer,” says Gardner, who has also played with Cher, Gwen Stefani, and Moby, to name a few. “Pink’s concerts are big, visual productions. There are a lot of dancers/ aerialists and even an acrobat, so I’m moving up and down the stage all the time. So, I really can’t be tethered, and have been using wireless for about a decade. On previous systems, my sound was never really all there. It was thin and over-compressed. Then, we started having some issues with dropouts, so for this tour, Ruff and I went on a quest for a new wireless setup.”
“I hadn’t heard of Lectrosonics until one of our monitor engineers told me about it,” recalls Stewart. “He’d used it with AC/DC where it was part of [rhythm guitarist] Malcolm Young’s rig. I always loved Malcolm’s tone, and figured if it was good enough for a guy like him, it was worth a listen. We literally just took it out of the box and plugged it in. Other than a minor gain adjustment to match Eva’s bass, we did nothing to it. On bass guitar, the Lectrosonics is the most lifelike wireless system I’ve ever used. It literally sounds like she’s playing through a cable.”
Timing is just as important as tone, as Gardner explains: “The bass really needs to lock with the drums, so previously, latency was becoming more and more of an issue. That’s not the way playing the bass works — when you hit the string; it has to be in time! Lectrosonics has eliminated that problem. In fact, we recently did an A-B comparison between the system and a cable a few days ago. We listened very critically. Not only is all my tone there, but the response is so immediate that I forget I’m even using wireless.”
Stewart also praises Lectrosonics’ performance in high-RF environments, something any concert venue is virtually guaranteed to be. “Most people in the band are on in-ear monitors, there are cell phones, walkie-talkies for event staff, all of that,” he explains. “At first, I had some concerns over the distance factor in the face of all this RF, because Eva was on the opposite side of the very large stage from the receivers. But with the Lectrosonics stuff, we’ve had absolutely zero problems with dropouts, crosstalk, or latency. The frequency-scanning and pairing procedure between the receiver and transmitter is just brilliant, too. In Australia, we’d been using the R400a receivers and they were totally solid. Upon returning to the states, we switched over to the LR units as they gave us a bit more bandwidth for frequency choices.”
“We couldn’t be happier with the Lectrosonics gear,” concludes Gardner. “All my tone is there, I haven’t had an issue with battery life, and again, the responsiveness and timing are indistinguishable from being on a cable. I also love that the packs are so compact. It’s unbelievable.”
PRESS RELEASE: Oscar-Winning Sound Engineer Thomas Curley Takes Lectrosonics PDR for a Ride on Major Film and Television Projects
“When I decided to invest in myself with equipment I chose Lectrosonics.”
Los Angeles, CA (June 26, 2018) – Oscar award-winning sound engineer Thomas Curley recently added the Lectrosonics PDR Portable Digital Audio Recorder, to his wireless equipment package which includes the SSM Super Slight Micro Transmitter and 200 and 400 Series transmitters and receivers. Curley recently used the new PDR on the upcoming action film, AXL as well as the upcoming TV series Yellowstone, starring Kevin Costner and written and directed by Taylor Sheridan.
Thomas Curley started his career as a Production Assistant on the 2002 movie Time Machine and went on to win an Oscar for Best Sound Mixing for the movie Whiplash in 2015.
“Whiplash was one of the most exhilarating film-making experiences of my career so far. It was such a joy to watch something I personally thought was so wonderful to be warmly received by everyone else,” Curley says.”
Curley, who also recently worked on the upcoming movie, A Million Little Pieces, starting Charlie Hunnam, Juliet Lewis and Billy Bob Thornton says, “The equipment I use for all productions, break down into four basic categories: recorders, microphones, wireless equipment, and time code. I’ve always used Lectrosonics because they have a stellar reputation and as long as I can remember they’ve been the industry standard. When I decided to invest in myself with equipment I chose Lectrosonics and I haven’t used any other brands since.”
In business with brother Brian Curley since moving to Los Angeles from New York in 2002, Thomas Curley has an arsenal of other Lectrosonics Digital Hybrid wireless products including the SSM Super Slight Micro Transmitter and the 200 and 400 Series Receivers.
“Lectrosonics’ wireless technology is second to none. Over the years of working with Lectrosonics, their products have proven to be stable, reliable, and rock-solid all around, and a good value. In fact, one of my brother’s transmitters was run over by a car and it was completely fine other than a few scuff marks,” says Thomas.