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Showing most liked content since 03/19/2024 in Posts
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I haven't managed to thank everyone personally but the last few days have seen an amazing amount of support donations from our members. Maybe my birthday, April 18th, triggered this, I don't know, but it is so appreciated! We have such a great group of sound people here who participate regularly on site and so many of our veteran members have generously offered so much good advice and help to many of our newer members. It is amazing that we can keep this all going considering how much "competition" there is from so many social media websites. I am aware that the legacy forum format is showing its age a bit but it seems to be still working quite well. So pleased that there is room in your lives for JWSOUNDGRIOUP. Thank you, again, from the bottom of my heart for all the generous support donations.4 likes
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Today, Halter Technical began posting a series of Reels that I hope uplifts and inspires working professionals, and those who are building their career. New episodes of #RespectSound will appear on Mondays and Fridays on Facebook, Instagram, and YouTube. I hope you'll check them out! https://www.youtube.com/playlist?list=PLKnxJ6JEwFFU9_AtlyE1IYL8b_reDjV804 likes
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I think he means how the Easyrig has rigid hooks that hold the bag, so it is easy to take the bag on and off instead of unclipping 6 carabiners. I have always wanted something like this as well. I have both the Orca and Ktek waist belt and I find both of them super uncomfortable. Even the smallest bag, I found the mixer sat too low and kind of prevented me from being able to walk properly.3 likes
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For those of us in the Lectro ecosystem: the digital successor to the SSM was just announced. https://www.gothamsound.com/product/dssm-digital-transmitter3 likes
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The DSSM will be an excellent addition to my D2 wireless eco system. I too what would love remote control if TX’s . I’m betting that WMAS with its 6 MHz bandwidth will the be future for remote control for not only Lectro but all manufacturers in the next couple years and all those 2.4 ghz controlled systems will be outdated. And if/when we do see a WMAS compatible system with remote control Lectro’s track record shows that these D2 TX’s will most likely work with the next gen RX’s maximizing your investment.3 likes
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I'm almost done with a windows version of the app that controls a single 788 via usb. Multiple unit control over USB is limited to basic CLink broadcast commands like roll and cut, but I currently have a way I could hook up the 788's CLink port to a router with a $50 RS232 to ethernet/wifi adapter so it could be discoverable by an iPad/Android Tablet and you could control multiple linked units with it. I don't currently have a Mac to write an iPad app on though. Once the Windows usb app is done, I can post it here as a basic test app for funtionality/bugs before writing the actual iOS/Android versions cause those would take a bit longer since I'd have to learn their platforms a bit more.2 likes
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We tried an earlier proto on a 17 page backwards walk and talk, it was great for that2 likes
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Haven't tested the two against each other but I'm guessing it's by design. The advantage of the Lemo being lighter and more compact comes with the downside of less physical shock absorption and being more sensitive to physical impact (that's probably not how you would describe it scientifically). But cable noise is common even for XLR plugs. A really important feature of shockmounts is the isolation of the cable that is attached to the mic. If the mic itself is isolated from the boom or stand but not from the cable hanging or lying around then all handling noises will be transduced into the mic. So there's usually a short cable between the mic and another fixed XLR plug that isolates the mic from the rest of the cable length. Some shockmounts have a clip to attach a connected cable so if you're running only one cable you can clip it in shortly after the XLR plug to the microphone as some kind of strain relief. Alternatively, it should also help to fix the cable with some velcro to the stand. I'm afraid with sensitive mics and without a high-pass (low-cut) filter it's likely that you get some unwanted handling noise, even if the mic is static on a tripod. The table might even conduct the steps of the person walking in the next room. So a shockmount is always good advice and will safe you troubles. It doesn't have to be cinela but of course they're worth the money and have special mounts for the lemo version. Any other will do for table interviews.2 likes
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because WMAS is allowing bidirectional communication between transmitters and receivers, so in theory it can be used to control all the bodypack parameters2 likes
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Just to be more specific At the end of the day, I give my card 1 to DIT or who’s in charge. When I'm back home or at the hotel, I make a back-up copy of card 2, and that's when I sort out and rename the wild tracks. I only send the folder with all the wild tracks at the end of the project, in one go.2 likes
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And now I have just added part 3 of my MKH 8030 tests, probably a little more relevant here than part 2: in this case it is a series of MS tests with the MKH 8020, MKH 8040 and MKH 8050 - all field recordings/ambiences, not music. Cheers, Roland https://drbadphil.com/sennheiser-mkh-8030-part-3-mid-side-field-recordings2 likes
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Before the topic changes completely, let me just chime in to agree with Constantin that AES42 is definitely more than just a passive interface for receiving digital audio signals. Unlike AES3 it has a control channel that runs from the interface to the microphone(s) (along the same set of wires, of course), and quite a few essential commands are predefined in the standard, such that all AES42-compatible microphones should implement them. Some other commands are "defined but optional." And there's also a range of command codes available for manufacturers to define for themselves however they want, so that unique features can be offered. What you can do in Mode 2 that you can't do in Mode 1: [a] record synchronously with any given timing signals, such as a master clock, without using sampling rate converters [b] run multiple microphones without sampling rate converters. In Mode 1 each mike is independently self-clocking, and no two are ever exactly alike.2 likes
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There are real-world situations in which a digital microphone can offer an audibly lower noise floor than a comparable analog microphone. For years I used to think that digital microphones were just a rearrangement/refactoring of the same set of components (capsule, preamp, a/d converter) as in a digital recording setup with analog mikes, and yes, that is true for the most part. But the hitch is analog mike preamps (whether outboard or part of a mixer or recorder) and their noise levels and headroom in relation to their gain settings. Mike preamps, contrary to what some people apparently assume, are nearly all at their quietest when set to the upper range of their gain settings. If the sounds that you're recording include very high SPLs (even for brief intervals), you can't leave the gain of the preamp (or analog recorder or mixer input) set very high, or you'll clip the analog electronics. As a result, you have to set the gain for the loudest sound that you expect to pick up, which raises the noise floor for the quieter parts of whatever you're recording, compared to what that noise floor would have been at higher gain settings. Sometimes this raises the preamp's noise floor above that of the microphone or the recording environment. And that's a compromise that you don't have to make with digital microphones. As a result, every now and then people with real, professional experience find to their astonishment that digital microphones are quieter or even (as some have said) much quieter in certain recording scenarios than the comparable analog microphones had been for them before. I used to think those people were tripping--but now I realize that they could very well be describing their experience accurately, though perhaps not understanding that no, the microphones themselves aren't any quieter; it's the benefit of working without the occasional limitations of analog preamps. The effect isn't extremely common, but I think it's 100% real when it occurs. Does that explanation help? There's a video in German that Helmut Wittek from Schoeps posted on YouTube that goes into this; I could provide a breakdown of it in English if anybody wants. --best regards2 likes
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Now that sounds sketchy to me. Yes sound is pivotal, but calling it that as part of the hiring process screams fake to me. Come to think of it, the whole thing looks like it's written by ChatGPT to me. Lots of words that say nothing.2 likes
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Sunday, March 24 at noon Mountain Time (UTC -6) This will also be available afterward. Link:2 likes
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I'd tell them to pound sand then. What's next, you need to pay them for the catering too? If production doesn't want liability, then they shouldn't be creating a production.2 likes
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There's always the Nagra Seven. Which also doubles up functionality, but at least its preamps are better than a Zoom. I'm not totally sure what you mean by USB-centred audio recorder. You mean a recorder that accepts a USB interface as an input? I don't think it exists ... there's no reason to make one when a phone or a laptop can do the job just as easily (with no difference in quality, and probably a minimal difference in convenience). If your audio signal is already on a USB bus, a laptop is the correct tool for the job. Outside of that, I assume the main reason to use the M2D2 is for its preamps, so if you want to use the analogue or AES outputs on the M2D2, any of the usual recorders should work just fine, Zoom, Mixpre, or a top-tier production recorder. I guess I'm really not clear why you want a special recorder just for the M2D2. If you just want the Sonosax pre-amps, plug it into whatever recorder you have. If you want to use the USB output, plug it into a laptop or phone. And if you want a recorder with pre-amps, get a decent recorder and don't use the M2D2 at all. If you really want Sonosax pre-amps with an integrated recorder ... sell the M2D2 and buy an SX-R4+.1 like
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An additional question: Were you ok with having the bag low on your body? I prefer having the bag at chest level; I find it is easier on my back. But I'm curious how a belt rig would change the weight distribution.1 like
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Hello World, Seems like the beta phase of Schoeps CMD 42 is over and Schoeps gonna release it in April 13th 2024. It is compatibility with all MK capsules and Colette accessories. AES42 Mode 1 & Mode 2. CMD Remote App to handle all the settings. From my limited market research, it has price tag around 1.000 euros. Not sure about dollar price. Wireless Transmitters Compatibility: - Sound Devices A20-TX - Zaxcom TRX745 - Zaxcom TRX743 More information: https://schoeps.de/en/products/colette/microphone-amplifiers/cmd-42-beta.html1 like
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I'd advise against putting anything at the 180 degree spot/ back of the microphone, especially a bucket which is a very non-linear sound collector of sorts, especially when agitated with wind. The common misconception is that directional mics have a null at 180 degrees or various other angles , depending on the polar pattern. In practice microphones, especially shotgun microphones hardly ever have textbook patterns across the entire frequency range. Schoeps is probably the best at achieving as close as possible a textbook pattern but one quick look at the graph of the MiniCmit shows that at lower frequencies you have a significant rear lobe, meaning that this mic hears a lot of what's going on in the lower mids and bass behind the mic . 500 Hz is only down 8 dB and 250 Hz is only down 7 dB from its on-axis response. It is very important to consider what is happening "behind" the mic.1 like
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Neat ... that's the first armature I've seen that doesn't look totally impractical and bulky. I might keep an eye on this. It's still a pretty big item to be carrying run and gun, but they've clearly put a lot of thought into the specific needs of sound and boom. I'd try it.1 like
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The HDM digital mode has good performance with only 2mW! But they do state it's something to be used in more controlled environments and with slightly reduced frequency response (20Hz-16kHz). Walk test in this video yields good results https://www.youtube.com/watch?v=phjOWKIKwzQ&t=320s&pp=ygUVbGVjdHJvc29uaWNzIGhkbSBtb2Rl1 like
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Hmm, while decent ribbon mics offer something different to the MKH 8030, I'd certainly far rather use the latter plus other MKH 8000 series mics for MS than a VP-88, which I have heard: not knocking the Shure, but the Sennheisers are a significant step up (which isn't surprising, given price difference).1 like
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for documentary, MS on a boom is kinda the standard here. i like it and use it even if sometimes it's overkill. iit still is monocompatible so post production houses get the choice to add subtle stereo depth if they want1 like
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last feature bag when it's sitting on the cart : 16 channels (LR mix + 14 ISO channels) sonosax R4+ sonosax RX8 slot with 2 wisycom MCR54 with AES module 1 wisycom MCR54 receiver on analog channel 1-4, 1 lectrosonics SRC receiver on line 5-6 betso bowties ; lectro SNA600 ; RF venue diversity fin sonosax LC8 fader surface might be around 10 kg ----- documentary bag : sonosax R4+ with a mcr 54 on analog 3-4-5-6 MS boom cabled on 1-2, using sonosax preamp and ADC less than 5 kg ---- and last but not least "the feather rig" : SD mixpre6 mkII with automix and noise assist plugin since v9 we can use TC on the stereo aux input and still have a additional audio channel available. only problem is the lack of fader. MS cabled boom on channel 1-2 lectrosonics SRC receiver on 3-4 if needed i use the deity theos on aux input 5-6 (after jamming internal TC and changing the inputs) 2.5 kg1 like
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Check antenna on problem TX. It could be a multitude of reasons why this is happening. Here is the email address of Manoj (Ex-designer of these systems) who services the 2040 (and 2020) series. If you can get the problem TX to him he will fix it. mdaudioservices(at)gmail.com1 like
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Digital Microphones..... a solution looking for a problem. Neumann dropped their Solution D series and Sennheiser has not made their digital 8000 series components in a few years. Mature analog technology is still King.1 like
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The way I use it is : Drama / Narrative - COSI Fabric (interior) , Pianissimo (exterior ) . RnG / Docu / Corpo - E-OSIX + THE SPACER BUBBLE kit . Regards, Dejan.1 like
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Battery power sources and LED lamps. What a different world we live in today. I always hated the "generator dance". (Although I still fondly remember the big arc lamps of yesteryear. They were magnificent in their brute strength, pun intended). D.1 like
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I’ve used both a bunch mostly with the CMIT and I would agree the Cosi is great for light wind days or even decent breeze but if there’s serious wind you need a full blimp. I also agree that if you get the full pianissimo you should skip Cinela’s fur and try the bubblebee offering. While I haven’t tried the new bubblebee fur covers myself I can say that the thickest Cinela fur kills a lot of presence and made dialog sound dull. If you’re using mics with presence boost maybe you can work around it but I think there must be better more transparent furs available. Last thought.. a Schoeps CMC is kind of small inside a pianissimo and I don’t think you can reconfigure it to scoot it forward like you can in a Rycote so for booming dialog you’ll always be losing a couple inches distance compared to other products. Sometimes that makes all the difference outside.1 like
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Vasi is suggesting that Schoeps will announce this at NAB. Presumably it will address the issue you raise, which is going to be on the minds of a lot of people.1 like
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a little heat shrink and some tech flex and that can easily become 1 cable with a Y at either end...1 like
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Getting a strap that is truly ergonomic and that weights the case properly for carrying takes some time and experimentation. I reused a strap from an old camera bag, but it constantly falls off my shoulder because of how I've attached it. It's not practical for carrying it long distance with other cases. Ideally, I need a strap that has the shoulder pad farther up (so it actually goes over my shoulder, and that is contoured and textured so it doesn't slide down. I'm sure it's doable, but it's not as simple as I'd hoped.1 like
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For travel where size is of importance I use a 16' cabled Loon Pole and it will handle a blimped MKH70 no problems, for the shorter pole I have a PSC 12' cabled that also travels but is mainly a backup. The extra sections make sure that they fir in my case and the problems don't seem to effect performance when fully extended. Both poles have done the past 20 seasons with NFL Films no problems. When travel is less of a problem and I'm running wireless booms I use my selection of Panamics as the main choice. I've always been happy with them and when they were built in Watford even visited the "Factory" (Garage) and chatted with the guys there. My original 12' aluminium pole was designed for use with a blimped 416 with minimal bend. It would also stand an 816. Even the 20' Graphite pole I got later in my career has worked well with anything I've put on the end. These poles work well with less sections1 like
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It seems to me OK boompoles, go for it! : https://www.panamic.net/resources/customer-testimonials/1 like
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I have had good success with brake or deraileur cable from local bike shop. Cover it with heat shrink in your favorite color. If you want to go crazy Plasti-Dip makes a wide range of colors and enhancements for covering your antenna wire.1 like
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I've had the same warning pop up as well as another one saying I have "exceeded maximum allowed power consumption." They both have happened at totally random times. I unplug/replug the CL-12 and it goes away, or plug in the DC boost and it goes away. For information's sake; my headphones are always plugged into the 688. I've never plugged a keyboard or light into the CL12. Only other cable into the CL12 is the DC Boost. I've been told to try a different USB cable, I just haven't had the time to do tests. But, that seems to be everyone's advice; change the USB cable.1 like
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I suffered the same issue for several months. Other fails would include the unit locking up and/or going into update mode. Lots of messing about, replacing aux usb power cables, etc, etc. -- Nothing worked. I replaced the USB cable from the 688 to the CL12 and the problem is solved. No more need for the aux power input, no more weird errors, no more shutdowns or lock-ups. I suggest replacing the factory USB cable with a good quality cable first, and seeing what shakes loose.1 like