Tag Archives: Brian Gilbert

ESPYS Video “Pat Summitt”

Here’s a link to a production I worked on for ESPN on Pat Summitt:


I made two trips to Knoxville for this production, once to shoot Pat Summitt’s final home game, and once to interview Pat, her son Tyler, and her assistant coach Holly Warlick.

Producer Becca Gitlitz interviews Tyler Summitt for the ESPSY video

My favorite off-camera bit was when Pat and Holly were chatting about her earliest coaching days, and how the team was called “The Corn-Fed Chicks…” It was certainly a different time!


DP Christian Hoagland adjusts his background… it’s just a bunch of shiny wire with bits of metal hanging off. When thrown out of focus, the effect is rather nice… see the video above for the results.

The Austin Ribbon Mic

I recently received an Austin Ribbon mic kit from Rick Wilkinson (Rickshaw Records) out in California. Unfortunately, I can’t say I’m the proud owner… this mic is going to be built and given away as a door prize at the DIY panel at the Producers and Engineers Summit at Welcome To 1979 in November.

I haven’t finished the build yet, so I can’t give a complete review of the mic, but I can make some comments about the kit and the resources that come with it. Building a ribbon mic is not that complex- IN THEORY. It’s just a thin metal ribbon suspended between two magnets. There isn’t much electronic inside the mic, just a transformer. The design has been around since the 30’s.

The theory is simple. But like most things, it’s the Devil in the details. You can find articles and instruction on the web for free. And that’s what I started to do years ago. I got halfway through the project and shelved it… there wasn’t enough detail for me to be successful.

Or you can spend some money and increase your chances. Rick sells plans for ten bucks, or his ribbon kit for $275 with a Cinemag transformer. (There is a less expensive version with a stock transformer, and I understand the stock transformer is exceptionally high quality. It’s sold out right now, but should be available again shortly) Rick sent me a kit with a Cinemag transformer, so that’s the version I’m reviewing here.

The kit itself is extremely well done. The mic tube is powder coated brass, 1 1/2″ diameter, and exactly machined. All the holes are already drilled, so you don’t need a drill press. The motor frame (a critical part) is a machined piece of plastic. The fit was perfect. I especially liked his design… I designed my own once, and it was a cumbersome mess. Ricks is elegant, simple, strong, and works well. (some folks claim that metal frames are superior. Perhaps they are… I’m not sure… but I think that at least part of the reason behind this claim is that’s what is available from China.)

The greatest value for me, though, is Rick’s instructional materials. When you buy a kit (or his plans), he sends you a link where you can download  PDF instruction manual and several videos where he goes through the process of building a mic. These videos are really helpful, especially when it comes to corrugating and installing the ribbon.

Commercial mics use ribbons that are anywhere from 5 microns to 1.8 microns thick. The ribbon material that Rick supplies is about 0.8 microns. (Thinner ribbons increase high-freq sensitivity.) This is similar to “imitation silver” guilding leaf, it’s readily available on the internet. I’ve bought some from Hobby Lobby before and tried to cut a ribbon from it. I can say without hesitation that it ain’t easy. But that’s the beauty of these videos. Once you see someone doing it, you understand the method better… much better than just reading about it. And you can see that it is possible to make a well-functioning ribbon from scratch, but understand that it’ll take some practice. Even breathing can cause a cut ribbon to fly off your bench. So be ready to make several practice ribbons before you get one correctly made and mounted in your mic frame. And if you just can’t get it, there is an internet source for commercial ribbon foil now. A company called Lebow sells pure aluminum foil in a variety of thicknesses, including 1.8 and 2.5 microns. This would be vastly easier to handle, but it’s also vastly more expensive at $25/sheet. (There may be other sources as well, but this was the only one that I could find. I ordered two sheets to use in my own mics, but they aren’t in yet.)

Ribbon-making details is a big advantage of his instructions, but it isn’t the only one. For example, I learned that you can use a brass footrail cap on the bottom of your mic to hold the XLR connector. These things are nice, solid castings, and if you shop around, you can find them at about $5 apiece. (I wish I’d thought of that.) Circular Switchcraft connectors fit well in these caps.  This would be a good solution for any tubular-bodied homebuilt mic.

The videos do have a slight downside. You have to remember that Rick has built a lot of mics, so some of the things he does in the videos look easier than they will be to folks like you or I. It’s really difficult to explain the things that practice teaches you. But I’m pretty sure that I’ll have a working ribbon mic once the dust settles… I’ll keep you posted.

UPDATE: I finally got up the nerve to install the ribbon today. It worked on the second try, which really isn’t bad. I’m pretty sure that my success with this is pretty much due to Rick’s instruction. Like I said previously, I’ve tried this before and failed miserably. Seeing it done (in a video) makes all the difference.

A just-placed ribbon in the motor frame. This job requires lots of patience, but it can be done.

That is not to say, however, that it was easy. The foil is the definition of flimsy… if it were any thinner I think it’d fly off my bench because of the rotation of the earth. Using the more expensive 2.5 micron foil should be easier (though I expect still no picnic), and that’s what I’m planning for my own ribbon motor frames. (I figured this one should be made as a stock kit, in order to give a fair review.) There will be some slight differences, like slightly thicker magnets… I’m still in the design and prototype phase. But if they work, it’ll be fun to try some design variations like waffle plates (resonators) and silks.

Building a Studio- The Soundcraft 800

Work on my new studio space continues steadily. And while things aren’t necessarily moving as fast as I’d like, I’m getting things done one job at a time. Today was blowing insulation day, which was a messy, nasty, dusty affair. But it’s

My studio as of Jan 14th... there's a LOT of drywall mud to sand yet.

also probably the most effective low-cost solution for my roof space, as it pretty much fills all the gaps between the drywall ceiling and the underside of the roof deck (with a layer of QuietBrace screwed on for better isolation).

Old Busted or New Hotness? Depends on who you ask, but probably a little bit of both... my Soundcraft 800

And just as I was getting completely overwhelmed by the magnitude of remaining jobs I have to do, I gave myself a morale boost by taking delivery of the centerpiece of the studio, a Soundcraft 800 26-channel mixer. While it looks impressive (to me, at least… but some say I’m easily amused), it has some issues with the master section that will need to be addressed. The age of this mixer means that it will pretty much need a full rebuild.

I’ve already corresponded with the good folks at Creation Audio Labs in Nashville, they specialize in mixer rebuilds. (There was a great article by Rob Tavaglione about rebuilding a Soundcraft Ghost in a recent issue of Pro Audio Review.) I’ll be doing some of the upgrades myself, and I’m going to let them do some of the work. Part of the reason I wanted an older Soundcraft was the individual channel strips… this makes regular maintenance and repairs much easier than a newer mixer like the Ghost.

While this mixer isn't quite as nice as the Soundcraft TS12 that I formerly used, it didn't take four guys and a truck to move, either. While it's certainly a "midsize" mixer, these are a more practical choice for a smaller studio like mine... and they are a lot easier to resell when the time comes.

Fortunately, this mixer came complete with the original owners manual with schematics, a newly recapped power supply, and a bag of extra parts. The extra parts are a bit concerning… it means somebody has been poking around under the hood with a soldering iron, which can be a bad thing if the maintenance maverick isn’t particularly skilled. Since the electronics bench is a part of the studio, I won’t be able to start work on the mixer until the studio is complete. Fortunately, I’m not facing a particular deadline, so I can take the time to do things properly… but I’m sure anxious to start working on it.

The nameplate on the mixer gives a clue to its age. This one was built, I believe, around 1981. Note how the connectors are individually screwed to the chassis and not held in place by a common PC board... common in older gear. The downside is that connectors often need to be replaced... tedious because there are so many, but a fairly easy upgrade.

A DSLR Timecode Workflow

Most of the DSLR shoots I’ve worked on have been fairly simple affairs, at least in terms of synchronizing the sound… mostly because there weren’t any other options. These shoots are done old-school “double-system,” where the camera records the visuals and the audio is recorded with a separate recorder. We used to use a Nagra for this (which is still a desirable piece of gear… one day I’ll find one that I can afford.) A standard slate is used at the head of each take to provide a marker for the editors. They line up the little bar of the slate with the crack of the slate’s clapper on the waveform, sliding the audio around until they match, and then the audio is locked to picture. Many folks are using PluralEyes to speed up this process. But if you’re doing a long-form production with a lot of takes, manual sync can become a fairly large chore.

The Ambient Lockit Buddy in the hotshoe mount

I did a shoot recently where the production house supplied an Lockit Buddy (built by Freelance Audio Visual Services in the UK) along with an Ambient Clockit Box (we used an ACL 203) timecode generator. Ambient timecode generators have been around for a long time, and are proven pieces of kit… though they are expensive little morsels. What’s new is the Lockit Buddy. This is  a small passive device designed to drop linear timecode down to mic level, allowing it to be recorded on the DSLR’s right channel. You can also feed a reference audio track to go on the left channel, if you have an extra wireless or line level out. The Lockit Buddy doesn’t generate its own timecode, and requires some sort of timecode signal for it to work… either generated as it was on this shoot, or a feed from a timecode out from a timecode-capable audio recorder (My Edirol R4 Prohas a BNC timecode out that would be perfect for this application, but the DP didn’t want to be tethered to my recorder) or a video camera.

A typical Lockit Buddy setup. Note that there’s no provision to mount either the wireless receiver or the timecode generator… not ideal for handheld shooting or tight production schedules

In use, the Lockit Buddy worked pretty well. We would jam sync the recorder at the beginning of the day and then disconnect the two (with both the recorder and the master generator running in “free run,” of course). The generator and lockit buddy combination was a bit cumbersome on the camera. The Lockit Buddy comes with a hotshoe mount, but not the lockbox, so we had to tape everything on top of the camera. The assembly was  constantly slipping out of the hotshoe mount. Because of the mounting difficulty, we didn’t use the wireless receiver on the camera. But it did work. I’ve even got my own Lockit Buddy on order, as they’re not too expensive (around $140).

setting the sound recording level manually is required for the timecode signal to work, though the constant level of LTC would likely override the audio gain setting of the camera. Sudden loud bursts of noise may cause the level to fluctuate in auto mode, however, causing potential sync problems.

Unfortunately, the post work is being done in the UK, so I can’t report how seamless the system is on the backside. I understand they “had some trouble syncing up the takes,” but they didn’t elaborate. Still, if a scratch audio track is fed to one side, one could still use PluralEyes if the LTC signal somehow failed to lock up. Using a slate is, needless to say, mandatory. And there is more info about the post process on the Ambient website.

While I like the Lockit Buddy, there are some improvements that I’d like to see… maybe in version 2.0. A full-sized XLR connector with a mic/line selector switch would be a big improvement, and wouldn’t require any active circuitry.  This way a DP could plug in a basic mic for an audio scratch track, without requiring a tether to the soundperson. The TA3 connector means that special cables must be built to get audio into the camera, and an additional 3.5mm female jack would be highly convenient. I may do that modification myself, once mine arrives.

How To Make Turtle Clips

I can hear you. You’re saying, “What the #%*& is a turtle clip?”… a reasonable response to the above headline, actually. I didn’t know about them myself until recently. A “turtle clip” is a mic clip with a little wire bail over it. The wire is there to keep fabric away from the mic, preventing clothing rustle.

A commercially available turtle clip for a Tram lav

If you’re flush with cash and short on time, you can buy these from B&H for $20 apiece. Or you could make them yourself. All you need are some bits of copper wire, something round (like a dowel or broom handle) to use as a former, a pair of needlenose pliers, and a pair of cutters. Optionally, you can use a soldering iron if you want to get fancy, but it isn’t required. The clips that I made require a bit of Topstik or Moleskin to secure the mic, but they work as well as the ones from B&H.

Any round object will do as a former. The size determines the diameter of the finished mic clip… about a half-inch or three-quarter-inch rod will do. Wrap the wire around the former as if you were winding a spring one and a half turns. It’s easiest to wind a little extra and then clip off the excess wire later.

Starting a turtle clip. Copper wire is wound around a round former, 1 1/2 turns

Now, using the needlenose pliers, bend a half turn of the wire up 90 degrees. Clip off any excess wire and you’re done, unless you want to solder the ends. Soldering only takes a second and does make the finished clips a tad stronger and smoother, but it isn’t required. If you haven’t done much soldering before, this step could be

Bend one of the loops 90 degrees. I used a vise, but pliers can work fine for this.

a little tricky, but it’s very easy with a little practice. (HINT: Heat the wires first, then apply the solder to the wires. Don’t apply solder to the soldering iron, except maybe to help transfer the heat to the wires.)

Once you’ve made a few of these, other variations and improvements will surely come to you…

Snipping off the excess wire. Having a little extra wire makes handling these a touch easier while you make them.

making clips with two bails, for example, or rectangular shapes rather than round. They will get rather bent out of shape with regular use, but they’re easily replaced and cost only a little time. And if you’re too busy to take the ten minutes it takes to make these, I’ll be happy to sell you some that I’ve made… only twenty dollars each!

My collection of homemade turtle clips. They didn't take long to make, and they get easier with a little practice.

Comparing Lav Mics

I don’t have a huge collection of lav microphones, but I’ve tried several different models over the years. All of them work amazingly well, though I’ve naturally developed a preference, and I do have one particular model that I tend to use as my “go-to” mic (which I’ll reveal in a moment).

Some wired lavs- from left to right, unmarked EV lav, evCO90, Sony ECM44b, Sony ECM55b

The problem with comparing different lav mic models is that many wireless transmitters use their own wiring conventions. Lectrosonics uses a five-pin connector (a TA5), while Sony and Sennheiser use a 3.5mm jack… and the two aren’t interchangeable. So while I have a fairly diverse collection of lavs, they aren’t all wired to use the same transmitter. One of these days, I’ll get rid of my other transmitters and go “all Lectro,” but that’s a somewhat expensive proposition.

Two Sennheiser lavs

My lav mic locker includes the following:

  • Countryman EMW (wired for Lectrosonics)
  • Countryman B6 (Lectro)
  • Audio Technica 899 (Lectro)
  • Lectrosonics 119
  • Lectrosonics 152
  • Sennheiser ME102
  • Sennheiser ME104
  • Sony ECM44B (hardwire)
  • Sony ECM55B (hardwire)
  • Sony UWP lav
  • EV CO90 (hardwire)
  • EV MysteryLav- looks suspiciously like a Sanken COS11

These two mics are the ones I use most often... a Countryman EMW and my current favorite, the Audio Technica 899

There is a really good article about comparing several different models of lav mics at Ken Stone’s website- click here. I haven’t done extensive side-by-side comparisons of all the mics that I have, but I’ve got some favorites. I found a good deal on some Countryman EMWs. These are small, rectangular, side-address lavs, similar to Trams, which are kind of an industry standard. But Trams were too expensive and only available new. The EMWs small size and resistance to handling noise are big advantages and I used these for several years. But then I happened to try an Audio Technica 899 during a 3-person shoot… two people wore EMWs, and one wore an 899. While all sounded good, I was surprised at the reduction in room noise when I soloed the 899… there was a significant improvement in the amount of background noise. Since then I’ve managed to purchase a set of three 899s, and these are my favorite mics in most situations.

Any mic with a larger head is generally not my first choice on the set, since most clients would rather hide the mic in the talent’s clothing, even though this means a reduction is sound quality. My Sony 55b almost never gets used for this reason, even though it’s an excellent-sounding mic. My Lectrosonics mics have some rather questionable-looking cables, so I keep them to use as backup mics.

My First Place & the Ambient EMP Eumel

I was recently in Nashville, TN shooting an episode of HGTV’s My First Place. I was glad to finally get the gig… they’d called me a number of times before, and I was always booked. And because of the way things work out on this show, they don’t usually give their crew much notice (less than 24 hrs on one occasion). Scheduling last-minute shoots is difficult… I try to make them work, but I’m often booked. That’s how it’s been with My First Place in the past, so I was especially pleased that I was able to make this shoot work.

I worked with two Nashville freelancers, producer Laura Douglas and DP Chris Conder. Both have been working in and around Nashville for a number of years, and Laura had worked in news, so we all had similar experiences to share. The show is produced by High Noon Entertainment in Colorado. I’ve worked with them before, but this particular shoot was done with an all-local crew… no one flew in for the show.

One of two Ambient EMP 5s transformers that I recently bought. I've been needing these for a long time, and they work like a charm.

I tried out a new piece of gear on this trip… an Ambient EMP 5s eumel. (a eumal–pronounced “oymal–” is German for widget.) It isn’t a very sexy bit of kit, and it’s pretty pricey (about $118 each from Trew Audio) but it’s extremely handy to have. All they are is a transformer built into a nicely machined Neutrik connector. What they do is convert a wireless lav microphone– in this particular case, my Audio Technica 899– into a hard-wired version. Since these were going to be seated interviews, I figured this would be the perfect application. I’m happy to report they work like a charm. I have several mics that are wired for Lectrosonics transmitters, and now I can use these all as hardwires if the job calls for it. In the past, I have used a Sony ECM55b for my hardwire jobs, and while it works great, I have often wished to use a mic with a smaller head– like my Countryman EMWs or my ATs, since the Sony is a little harder to hide. My Ambient EMPs give me more options, and options are always nice to have on the set!

The guys that were buying their first place had a budget of $140K, and wanted a minimum of 1,000 square feet. Nashville is a nice town, but the real estate prices are pretty steep for most people. (In contrast, we’re looking at a 2,800 square foot house here in Chattanooga, and the selling price is $192K. That’s nearly 3x the house for about $50k more dollars. There’s just no music industry here, unfortunately.)

Producer Laura Douglas interviews first-time homebuyers Bret Marchbanks and Daniel Sircy for HGTV's My First Place. Chris Conder on camera.

The only bad part about the shoot was the drive home. I work as a local in Nashville for one-day shoots, so  had to drive home that night. We finished the interviews at 10PM local time, and since Nashville is in a different time zone than Chattanooga, I pulled into my driveway at 2AM. But I’m looking forward to working with them again soon.