Jump to content

Leaderboard

Popular Content

Showing most liked content since 02/19/2024 in all areas

  1. I'm a R4+ and M2D2 user and would say Sonosax all the way for music. I used SD and Zaxcom for many years and have recorded music on them for convenience with good results, all fine, great machines. but doing the same with Sonosax is a big jump in musicality and 'ease of sound'. Generally the stuff I have recorded that way has been small music groups playing mostly acoustic instruments along with multiple voices, with a mix of ribbon mics and dynamics, leaving the Schoeps and so on in the cabinet much of the time. For context here, I'll also mention that I operated a proper music recording studio with a Neve 5088 console into Burl converters for 10 years recording tons of music and for me the Sonosax is the only recorder mentioned that can compare to that same level of deep musicality.
    4 likes
  2. A used Sound Devices 788T (or even a SD 744) would be all you need to record music. I AM a professional music recordist and for anything under eight tracks, I still use, and am still awe-struck by the quality of, acoustic music recorded on my 788T. D.
    4 likes
  3. Nice! How wonderful it was for me to actually be with people in the real world. I have been so overly cautious because of Covid I have missed so many events, so many people. It was great evening, I think one of the best Awards show we've done.
    3 likes
  4. I’ve been on a mic acquisition kick lately, and I’ve ended up with too many shotgun mics, so I need to figure out which ones I want to keep as my workhorses. To help me choose, I decided to test to them all under controlled circumstances and see what I could learn. I wrote way more than I intended, so instead of posting the whole thing here, I put it in a post on my website. And for those who don't want to read an 11-page review (I don't blame you), here's my last-paragraph-first summary: https://documentarysoundguy.ca/the-shotgun-shootout-schoeps-cmit-supercmit-sanken-cs-3e-sennheiser-mkh-60/ Enjoy, and happy listening!
    3 likes
  5. Yea yea I know they stole. But everybody else in business steals including the usual bag manufacturers so … I know I am going to get a lot of hate but as you all might have found out already I don’t give a F@ck. This is just information. Proaim made a bag. Still old school heavy design and made of polyester but a cheaper version. Price is $167
    3 likes
  6. I smell some kind of "racism" here, non US/EU brands is not equal to "low quality / bad image"! To be honest, our industry has been ruled by US and EU companies forever, I would love to see if there could be a chance for a cooperation between companies like Zoom and Aaton, developing more reliable and affordable machines. I think the cooperation between Steinberg and Yamaha is a positive example. The Zoom F8 series are fantastic products at a relative low price. They gave many people the opportunity to get into the world of cinematic sound, those couldn't afford it before such machine existed. But since here is about Aaton, let's give it a hope that Aaton can find an investor and keep making one of the best machines for the industry.
    3 likes
  7. Imagine if Blackmagic purchased Aaton and released a $3K Cantar Mini v2, that would be insane!
    3 likes
  8. In general, it is very strange to see that much lack of competition. Making an audio recorder and it´s UI is not an atomic science. I don´t prefer the anatomy of cantar recorders at all - it makes even easy operations tricky. Boot times terrible. Input functions limited. Unbearably heavy. Lack of MixAssist / Dugan until the last minute, Lack of SuperSlot. Stiff onboard mixer faders (great cantaress, though). A need to buy an external box to have physical gain knobs. Buttons don´t work when dust gets in. There´s too much stress on set to operate such an absurdly complex piece of equipment on top of it. It´s not doing anything else than recording an audio signal and timecode ! Cantar only worked mentally in some absurd way : once you forced that thing to operate the way you wanted, you got honored with that spurious "atomic scientist pride". But that didn´t win a nobel prize for you. That´s where the audio mixer job only begins. SD, ZOOM and even ZAXCOM make much more straightforward equipment. Yes, I don´t love the overheating Scorpio that´s less durable and flawless compared to 6XX/7XX line but it seems like it´s the best new piece of equipment out there recently. My secret horse is ZOOM Japan. They´re a hair away of making something big. Add Dante support, double the channel count , make bigger mixing surface with same brains as great F - Control. You will rule this market. RIP Aaton. You were not my love but you have my respect.
    3 likes
  9. (Your) ears are definitely not matched ;).
    2 likes
  10. I was just filming outside of Nashville for the week and found BLK 22 was definitely congested, but still was able to find something that fit. There were plenty of options in BLK 19/20. Using 2x DSR4’s RX’s, paired with SMQV, SMV, SMWB TX’s I use FreqFinder to coordinate.
    2 likes
  11. D Clay Audio, I don't know if this helps at all, I couldn't find a TXAdvance scan in Nashville, but here is the closest. Chattanooga.
    2 likes
  12. The SNA600a is 2:1 only at the band edges. When defining bandwidth, the 2:1 value is a commonly accepted bandwidth definer. Inside that bandwidth, the SNA600a SWR is much lower on the order of 1.2:1. Keep in mind, a tunable bandwidth may be useful in attenuating undesired RF. "Different horses for different courses" . Best Regards, Larry Fisher
    2 likes
  13. Okay cool. It seems like I'm not the only one looking for a solution to this. I've started writing a library in C# for interacting with a 788T over usb and so far it's been pretty successful. Using the USB disables the C. Link In jack on the back but it seems like the C. Link Out still sends "Broadcast All" messages to other machines attached to it. So theoretically, you should be able to not only roll/cut all of them, but also sync settings like Date/Time, file names, recording specs, etc. to the whole C. Link network. I don't think accessing each machine seperately works over C. Link though if you're going through USB, you can only send commands to all of them at once. Once I get it working I'll write a small windows test app I can post here to see if it works anywhere besides my desk haha
    2 likes
  14. I made the clip out of a tools holder from the DIY store like the one in the picture. I cutted the two superfluous parts and taped the rest to the connector.
    2 likes
  15. Honestly if they just made an F16n, maybe threw some AES inputs on it and called it a day, that would be fine too. I'd love a small, 5 channel mixer recorder with phantom and a great mic pre on channel 1, then a super slot for a 4 channel receiver built in as boom + 4 lavs would cover most of my use cases.
    2 likes
  16. It's a bummer they discontinued that recorder. They rarely pop up on the used market too and when they do, sell for some pretty big coin quickly. That new Yamaha DC powered dante board into one would be great for high track count stuff into one of those (although it seems people are using that Yamaha's USB into a laptop with Boom Recorder too).
    2 likes
  17. Necropost just to report that the DSR was TOTALLY worth the wait!
    2 likes
  18. If you're after good SD pres then those on the 552 are the best they get. Lundahl mic transformers per pre, same as the 302, MM1 and 442.
    2 likes
  19. Hello, no RAD suspension yet so I am slightly off topic but still about RadiusWindshield: I have received my replacement fur (windjammer) they made for my AF rycote windshield (for my schoeps ortf stereo setup). It is more than 15 years old and going strong still, except the original fur. I must say I am very happy with the fur ! It is so far better than the original one on many account - I have not been trying it in a very strong wind situation yet. The Radius fur fits perfectlty and cover fully the lower part, that was a point not adressed by rycote for years. The fur hair itself feels exactly like the original, maybe slightly lighter. The inner fabric is definitely lighter yet feels strong, and it seems to me the whole windjammer has less acoustic impact in the highs than the original (feeling only since I cannot do A B comparison with a new Rycote). Also the team at Radius was impressively reactive and quick to proceed my request as AF size wasnt in their listing yet. On the total oposite of Vitecbibendum that initially said they could provide but stayed silent for more than a year after I asked for a quote… I am glad I heard of Radius here the first time some months ago and got in touch with them. An efficient human-size business like I wish there were more. I am looking forward to try their suspension, although I am a Cinela fan. But for the Piano fur I will try the Radius replacement soon!
    2 likes
  20. Remove the jumper between pins 2 & 4 and use their servo wiring scheme instead of simple 4V. I can't guarantee it will fix your problem, but that is what Lectro will advise. They'll tell you that with servo wiring, your mic gets a higher voltage than it would at a nominal 4V "regular" wiring due to the voltage drop. I haven't used the MKE1 with that, but the symptoms you describe are consistent with voltage starvation, and servo should help. Try it and see! This is the Lectro's wiring diagram FYI: https://www.lectrosonics.com/lectrosonics-microphone-wiring/uhf-transmitter-5-pin-input-jack-wiring.html Actually, hold that thought, Servo only gives 4V with 3-wire mics. So it would only give you 2V. But it's worth a try.
    1 like
  21. You are right about the distance: A misunderstanding on my part. When comparing a half wave dipole to a wideband bowtie antenna I assumed the half wave dipole was a builtin antenna in a receiver. My silly mistake By the way, the Lectrosonics SNA600a with its thick elements is a kind of a wideband antenna. A similar trick to the Nadenenko dipole you could see on many trawlers. That said: antennas can get detuned by stuff placed inside the near field (roughly 1 wavelength) and I wonder whether a wide band botwie can be a bit more "lenient" in that aspect. If someone can lend me one I can give it a try with the VNA (By the way I edited my previous post about amateurs using multi-narrow-band antennas instead of wide band ones). For some reason it got eaten (or I hit send before finishing it).
    1 like
  22. Hello! I have it, and its greatest convenience is the speed of setup, decent quality, and everything usually turns out quite well! You just need to make sure the levels are set right. You won't achieve this compactness with two separate microphones. Of course, windshields are mandatory outdoors. Good luck with your decision, but I think it's one of the best choices if you want ORTF!
    1 like
  23. My icon platform has died and I’m looking for a replacement. I remember someone talking about the V1 pro and it might be useable as a controller in the near future….. I can’t find the thread now and was wondering if it was a possibility or whether those plans were dead… what else is there?…. The platform fits perfectly in my rastorder cart ….. The waves fit will fit within the frame by 5 mil After last years strikes i don’t have funds for a cl16 . Any other contenders?
    1 like
  24. Yes but better tuned. And if you can place it so that stuff is outside the near field it will work better.
    1 like
  25. Did you check to see if your battery terminals are corroded? Perhaps if you clean up the contacts it will improve battery performance on your H6.
    1 like
  26. You can follow any Dante clock as master or for example with a Avio AES by AES EBU (Enable sync to external) Best Suso
    1 like
  27. Yamaha is very strict in all consoles about having only stereo recorders on board. Weird, but just as true for the top of the line "Rivage" as it is for this mixer. You can get clock i/o in a Yamaha mixer but you have move up the line a ways. Isn't there a way to add plugins to the mixer?
    1 like
  28. I love the 4minx, but the two units that I have, have the tone (around 1490Hz), the preamps are great but have high harmonic distortion too The menu is very awful for drama, but for music isn't a drama Another for the Sound Devices 788T, the best preamps I tried and measured in a battery recorder, built for last (Except the keyboard). The drawback for me is the menu (I hate it) (I'll love a harwire CL Wifi), but isn't a problem for music. Measures
    1 like
  29. Love my CS3e for sports coverage.. huddles, post game interviews, etc. It pulls the voice out of the chaos.
    1 like
  30. I'm not quite sure what you're getting at with the frequency response chart. The M2D2 is basically a USB-C sound cart or interface so whether you write the digital file on a high-end recorder, a computer or a smartphone doesn't really matter quality-wise. It's just the already converted file that will be the same everywhere you store it. Playback quality is not the reason for using a phone, I guess. Or am I not getting something here?
    1 like
  31. I think it's a beautiful set up, but my personal preference is flexibility. I'd prefer two CMC1 pres with MK41 capsules to a fixed ORTF rig.
    1 like
  32. Are you thinking of a web based device control app over wifi like Ambient did for the 6-series? I might be interested in that because Wingman and my 664 do not play nice.
    1 like
  33. Cantar is a niche product. Expensive to make due to R&D and software development. You better be small not to make bankruptcy or you would have to kill the product and make something for the masses on a lower budget.
    1 like
  34. Yes, that's basically true for all the stereo setups that involve spaced mics. If the two mics aren't panned hard L/R and the signals correlate then there can be unwanted phasing going on created by the time difference between the two mics. That's why XY and MS are a safe option if you want to stay mono-compatible but also less interesting in stereo compared to spaced pairs. To many ears at least... since ORTF mimics the way we are hearing stereophonic by combining time difference and intensity of the incoming signals. If you're recording sounds for your podcast then DMS is probably overkill, yes. But practically I really like MS and I think it's also worth considering. I like the idea of having a "center" mic especially when being on a tour recording ambiences but also maybe sfx stuff or whatever sounds that might be used in mono. So you just point at it and record on-axis. Of course you could also just use your ORTF and point one side to the sound source and record the same thing. Maybe it's just a matter of taste. Since I'm doing mostly dialogue work it's just way more practical to add a MK8 to the boom mic and go stereo. It all depends on what you're planning to do. Just wanted to add this in case it's relevant for you.
    1 like
  35. 100%. The DSR4 is awesome. The main delta for me is the lack of USB-C on the front panel. But that's about it.
    1 like
  36. Being used Sonosax RX4+ for TV Drama with eight wireless, no issues or limit channel / track; it's 16 tracks recorder. Have used 788T last summer as well, no issues. That "things" being build to last, not being refrigerators. 😁
    1 like
  37. Let's not forget Sonosax, they also make fantastic recorders and mixers, and well-suited for drama/theater use.
    1 like
  38. The Nova is in use on many Sound Carts and is a very capable 16 track recorder. With multiple choices of control panels and many unique features that are not offered by our competition. For example fully integrated wireless microphone control and internal wireless receivers. Zaxcom is committed to the location sound market and we are always working on new products. For Recording, wireless and IFB.
    1 like
  39. Best preamp ever done on a portable recorder is in the Sonosax SX-R4+. If you need more tracks with preamp you can use the SX-AD8+ module and stay digital with AES connection. It's also often used for classical music recording. No transformer, you get a clean preamps with the highest dynamic range on the market. It's also small and modular. (I'm not a Sonosax seller 😉 ) For some examples : https://www.facebook.com/groups/422226551455412/user/572779073 Patrick
    1 like
  40. I would tend to agree that the Nova2 probably isn't what you are looking for. It's preamps are good enough for me, but that's not really the main selling point the way it is on the Sonosax (or the way it was for the 7-series and older Sound Devices). Another important music feature that it lacks is proper stereo panning. I'm a fan, I own one, but my reasons for doing so don't match your requirements. I'll have to see if I can reproduce the Neverclip click ... I know I've seen several firmware notes that were supposed to fix it.
    1 like
  41. This is a better definition of the problem you are trying to solve. You should have started there. A 744T / 788T is a great recommendation! I always forget about those recorders, but I think this is what you should buy. I've owned both the Nomad and a Nova. I don't know anything about a hard-wired bass-roll off ... as far as I can tell, the pre-amps are very similar, and I haven't had an issue with getting full bass range. If you pick one of these, go for the Nomad, it has more analogue inputs, plus an additional 4 line inputs. I think the Sonosax / Nagra probably sound great, but honestly, all of these machines are excellent. Sonosax, and especially Nagra trade on their excellent analogue designs from decades ago, but, good as they are, so is most of the competition these days. It's a lot easier to get great pre-amps now than it was when they were in their heyday. I'm sure they sound great, but I'm not convinced they are worth the trouble. Given that are you in the US, I'd probably buy from an American company for ease of service and access to parts. If something breaks with one of the more esoteric recorders, you might be waiting for months. But I appreciate Neil's testimony that the Sonosax sounds better than the 6-series. That's worth something IMO.
    1 like
  42. When you currently have only one channel of Lectrosonics, it's overkill to put your 2nd channel in a completely different block. And as Karl mentions in that linked video, there are benefits to staying within the same block (for instance you could easily replace your 2x UCR411 with a single SRb, if you needed to go lightweight. Or you could bring just one UM400 and it would act as a spare emergency backup transmitter for either of your transmitters, if talent lost/broke one of them. But if you were using two different blocks, you'd need twice as many spare backups with you). If you've got a clean block, then you can fit a lot of channels within that block. (so long as you're being sensible and using frequency coordination, such as with FreqFinder) You're not going to get interference just because they're in the same block!
    1 like
  43. 100% THIS. I’m sorry your screen broke- these things do happen…any info on what exactly happened? Direct hit w/ a BNC end? The Denecke JB1’s have a recessed screen and the whole face is covered in a thick protective plexiglass, the case is made of aluminum, battery life is WEEKS and its physical size make the TC-1 look chunky.…the $92 price difference in the JB1 vs the TC-1 is worth it every penny. I’ve used the TC-1 - well was asked to I try them…but that menu and all those buttons, made zero sense to me. Maybe the app is better than the units UI, but I checked out, and had all my JB1’s jammed and running in 30 seconds. No app required. The Diety brand, in my opinion brings nothing new to the (sound) table but low cost. If that’s your jam, then that’s your jam. Denecke has been around since 1974 and STILL hand made in the USA.
    1 like
  44. I know this is an old thread, but I don't think the info already presented is correct. Here is what I gathered after a lot of reading, but someone who owns these mic packs will need to test: Sennheiser Evolution Wireless Transmitters These have a 2-wire mic configuration for common source mode: power through a resistor to the tip; signal on the tip; ground on the sleeve. The ring is a line-level input, which should be muted when not in use by shorting it to ground. Sennheiser EW Mics These are 2-wire devices for common source mode, with the drain on the tip and the source and case/ground on the sleeve. The plug should also short its ring to the sleeve. Sony UWP Transmitters These are meant for source follower mode, with signal on the tip, power on the ring (NOT through a resistor), and ground on the sleeve. The Sony service manual for the UTX-B2 shows the power line as 5 V with no resistor, and a load resistor from signal to ground of 10 kilo ohm. Sony UWP Mics Mics wired for Sony UWP transmitters expose their drain, source, and case/ground on separate contacts (ring, tip, and sleeve, respectively), so they're fully compatible with source follower mode and common source mode, just by changing the connector wiring. Adapting a Sennheiser EW Mic to a Sony UWP Transmitter Some mics wired for Sennheiser might actually be 3-wire devices. So it's worth disassembling the plug to check. If it's 3-wire, you'll find the source wire and shield both connected to the sleeve (and ring), and the drain wire connected to the tip, and then you could just switch the wires around to make the mic work with the Sony UWP transmitter in source follower mode (shield to sleeve, source wire to tip, drain wire to ring). But with only 2 wires, you can still build an adapter. A proper adapter would put the microphone in common source mode by having a resistor between the transmitter's ring and the mic's tip. 6.8 kilo ohm is the value suggested by Countryman for their B6 mic and Sony UWP transmitters, and I imagine that value will work with most 2-wire mics as it's a typical value for common source mode inputs with 5 V power. You do need that resistor, because it becomes the load resistor and the varying voltage across it is the signal output of the microphone. Then also connect the transmitter's tip to the mic's tip, and the transmitter's sleeve to the mic's sleeve. An improper adapter would connect the transmitter's ring (power supply) to the mic's tip (drain) and the transmitter's tip (signal) to the mic's sleeve (or ring, which is the source). The transmitter's sleeve (ground) would not be connected to anything. This puts the mic in source follower mode and you will get sound. But it's not a good configuration mainly because the signal is carried on the shield, which means it's effectively not shielded at all, and vulnerable to RF interference. Also the output signal (source) is fed back to one side of the microphone element, though I'm not sure if that would have any effect. If you had a 3-conductor cable (2 wires plus shield) from the mic plug to the mic capsule, you could have ground on the shield and still get a 2-wire capsule to work in source follower mode with a 3-wire input. That's certainly better than putting the signal on the shield, but the capsule's case would still be connected to the signal line, potentially allowing RF interference to enter through the capsule. Adapting a Sony UWP Mic to a Sennheiser EW Transmitter Wire the transmitter's tip to the mic's ring, and the transmitter's sleeve to the mic's tip and sleeve. You also need a wire from the transmitter's ring to the transmitter's sleeve, to mute the line input. Changing a mic between source follower mode and common source mode changes its performance characteristics. In common source mode, a mic will be more sensitive (by 9-10 dB), less linear, and have a lower SPL before severe distortion sets in.
    1 like
  45. Looks like my old Tennessee backwoods remedy has been repurposed.
    1 like
×
×
  • Create New...