US 
Canada Tonaderspeisung Baby!
Condenser microphone powering is a daily issue dealt with by mixers across the globe. For many of you it is a forgotten detail. You have a Sound Devices mixer and a brand new Schoeps CMIT5U. You leave your channel one phantom on almost continually because that’s your boom mic input. On the other end of […]
READ MOREMisinformation?
Misinformation is continually prevalent in our industry. The staff at Trew Audio has bit on it just as easily as you, our customers. One person’s experience can quickly become a generalized statement about a product to which everyone seems to adhere. Just last week we heard a nasty rumor that Maxell would soon discontinue their […]
READ MORE48.048 kHz?
So, when is it appropriate to record at 48.048 kHz, and how should you set your recorder when doing so? The answer lies in your project sound and picture workflow – not just on set, but all through film-to-video transfer and postproduction. If you understand the workflow, and how your audio files are being used, […]
READ MOREHolophone – The leader in surround recording
For a true sense of natural ambience, classical music, sound effects, and sports broadcasting, the HOLOPHONE surround microphone has become the preferred choice. It is important to remember that the goal of a surround microphone is to record a natural acoustical “image” that gives the listener the sensation, as closely as possible, that they are […]
READ MORERemote Audio CAT-5 Video Assist Kit
For the sound cart, a typical video assist setup often requires four channels: two video and two audio. Two video lines are so that the sound mixer can see two cameras, one audio line is to send a mix to the video assist operator, and the second audio line for playback from video assist. Until […]
READ MOREA Title Earned
Many in the film business know him. Most at least know of him and what he does: production sound recording for feature films. Some even call him Eddie. And some know him well enough to expect his sometimes sharp but eloquent humor. But even they will be surprised to know the journey of his […]
READ MORESonosax SX-ST – The new King of the Hill
The new King-of-the-Hill When sound quality, signal routing, reliability, versatility, build quality and portability are what’s important, the new mixer from Sonosax – the SX-ST – is now King-Of-The-Hill. While it’s also the most expensive (what would you expect from The King?), for those who can’t afford anything less there’s plenty to justify the price. […]
READ MORESanken’s CS-3 Shotgun Mic
Field Test #1 Recently, I was the mixer on a film commercial and I chose the Sanken CS-3, for no particular reason other than to see how it would perform. As it turned out, the CS-3 solved some problems we would have otherwise had to live with. In short, the production was better because of […]
READ MOREDeva II and Nagra V
Ready or not, tape is nearly history. Tape is well on its way to being a novelty. Granted, even analog tape is still being used on some film productions, being as reliable as it ever was and sounding as good as it ever did, but it is more and more accepting the realization of the […]
READ MORENAB 2003: Highlights for Production Sound
The #1 question asked so far this year: “How was the 2003 show”? Answer: Great! While the numbers of attendees may have been diminishing since 2000, and even more dramatically since “9-11”, it is our observation that the number of people attending NAB whose professional interest is in production sound recording is still strong. […]
READ MORE
