Jump to content

Glen Trew

Members
  • Posts

    1,474
  • Joined

  • Last visited

  • Days Won

    9

Everything posted by Glen Trew

  1. Good point, but I don't think so (assuming you mean an internal DC-AC inverter). it would add weight, expense, size, and possible noise issues for many who would not need the inverter. Also, some might need a large inverter while others only a small inverter. For those who need and inverter, I think the best answer is to buy the size/type needed and power it with one of the MEON's 12 outlets. Part of the beauty of the MEON is that's self-contained (battery, charger, AC-DC supply, distribution, and meters) in a single 2-rackspace chassis weighing just 25 pounds. Glen Trew Glen Trew
  2. I don't know of a reason the PD-6 would not give full specs with 12V coming in. The PD-6 draws a relative large amount of current, so, in the same power cable that might be adequate for other devices (ENG mixers for example) there could be enough voltage drop in the cable to cause problems if the cable is not a large enough gauge or too long. Glen Trew
  3. Something to consider is the Remote Audio MEON AC/DC/Battery supply. (now shipping) Check it out here: http://www.trewaudio.com/meon.htm. How many amps does your cart draw? Glen Trew
  4. I think it’s cool how they put the encoding transponder in the EFIS while keeping it active in the enunciator panel. gt
  5. I spoke with Andy and Janet this morning (I was afraid one of them may have had health issues or something). As it turns out, all is well. They are simply wanting to retire, and can. Glen Trew
  6. For what it's worth: Our service department saw many, many PD-4 machines with broken battery release arms. To the user, the release button would move normally but the battery would not be released. The release arm would often break when the button was pushed without first pushing the battery in to relieve the pressure. When this release arm broke, the battery was almost impossible to get out without taking the recorder apart. Yes, the Deva battery plunger is so simple it is nearly crude, but the batteries normally come out if you push the plunger fast enough. When thread-locker is used on the screw that holds the assembly together, it has been more reliable than the PD-4 system in my experience. However, I would like to see a sping installed that keeps the plunger retracted (and quiet) when a battery is not installed. Glen Trew
  7. Seems like I got the news about Jim Malloy a while back, but I can't remember for sure so I better not say. I see his son, David, every couple of days at the YMCA, so I'll ask and let you know. But he had quite a career after coming to Nashville in the last 60's, recording Elvis and the gang, producing a bunch of other stars, and even married Stella Parton (one of Dolly's sisters), who he also produced. Early in my career (probably 1978 or so) I was mixing a TV show called "Marty Robin's Spotlight", and one of the guests was Stella Parton. It was quite a deal to have "Mr. Malloy" (as I was used to calling my older neighbor) stitting next to me, coaching me like producers do while I mixed the music live to tape. One pass, one track, no edits, a lot of fun. Glen Trew
  8. Look in the audience closely and you might see me (I'm the kid with the 2008 hair style). I went to one of the Cash tapings at the Ryman with a highschool music group. Fun stuff. Funny, even from way back then I remember the production mixer: Jim Malloy; probably because he lived next door to us. Malloy also tracked and mixed Cash's albums then and had a cool ski boat. Glen Trew
  9. I remember hearing a few years ago of a major production (I believe in NY) shut down by the FCC because of unlicensed video assist transmitters. Legend? Don't know. glen trew
  10. Don't see where the specs say line out is 0dB. Would be surprised if it's not +4dBu. Glen Trew
  11. The telecine playback machine that eventually becomes the "Nagra T of the new century" will no doubt have a port from which to hang a a 20 dollar card reader. Amazing that this has been missed so far. glen trew
  12. The Ambient and Panamic poles are probably the quietest when sliding in and out.
  13. Hi John, There are two basic uses of CAT-5 cable that have been discussed here. One is using devices to convert audio and/or video signals to data that is sent along a CAT-5 cable to another device that converts the data back to analog. The other method (shown and described here: http://www.trewaudio.com/products/cat5_videoassist_kit.htm is simply using the four twisted pairs of the CAT-5 cable to send analog audio and/or video signals, just like an audio snake does. A small box with Baluns type transformers at each end allows very long cables to be used (in excess of 1000 feet) while maintaining high quality signals. This system allows two audio and two video signals to travel along a small CAT-5 cable. If you a running a video cable to video assist so that you can monitor picture, you might as well run a small cable instead that can send you two camera feeds, an audio send, plus an audio return for video playback. Check the link. It should be easier to understand. Glen Trew
  14. Mike, Some states allow a contractor to place a lien against the final product (in your case, the television show), but some do not. Tennessee used to allow this, but because unknowing home owners were being held at bay by the trim carpenter who had not been paid by the builder, Tennessee decided to do away with the law. A trip to the small claims court clerk might be enlightening. However, it might work just as well to contact the owner of the show (probably not the production company) or any celebreties involved. They may be unaware and will put presure on the production company to do right. This has worked for me in the past. gt
  15. Sorry to be a few days late, but here is the info about the CAT-5 Video Assist Kit I mentioned earlier: http://www.trewaudio.com/store/product.php?productid=885&cat=24&page=1 Glen Trew
  16. Hi Fernando, What you described is definately not normal. Here is a reprint from a similar ramps thread about the SD tape out to the H2 line in: We tested this setup today. We confirmed the overload distortion that some had mentioned, and came up with what seems to be a good fix: Our test setup used a Sound Devices 442 instead of the 302 (sold out). The TAPE OUT of the 442 seems to be the same as the TAPE OUT of the 302, so the results should be the same. The first cable used was a straight-through TA3 to 1/8' stereo plug. Using the tone from the 442 at its default setting of "0" (20 dB below max) we aligned the H2 recorder at -20dB (also 20dB below max). With this setting, and while talking into a microphone (Senn 416) plugged into the 442 mixer, the H2 had clipping distortion on peaks of about 6dB before max ("14" on the SD Mixer's meter scale). The distortion was still present even when reducing the input gain on the H2 recorder. Also, lowering the output level of the 442 and making up the level with the H2 gain allowed the H2 to record clean dialog even at full scale on the H2 meters. These tests indicate that the H2's distortion was occurring before the input level adjustment. The specs for the H2 line input call for a nominal level of -10dB. Since the specs for the SD mixer's tape out is actually a little lower than than, I can't yet explain what is causing the overload distortion. The fix was to add a 22K in-line resistor to the two Right and Left conductors (2 resistors total). 10K was not enough but 22K was. This is not really a pad because there is no shorting (shunt) resistor. In fact, the in-line resistors did not noticeably reduce the input level to the H2, but the distortion was gone. This arrangement is reminiscent of the Nagra IV-S input cable that required 47K resistors in line. Nagra referred to these as "current limiting" resistors. I don't have a technical explanation for the cause of the distortion (hopefully SD or Zoom can explain it at some point), but the in-line resistors solved the problem. Anyone who has purchased a cable from Trew Audio specifically to connect the tape out of an SD mixer to the line input of their Zoom H2 recorder can can contact the Sales Department for a free exchange. Glen Trew
  17. Reprinted from today's ramps posting: Very nice Vin. I'm curious how you are securing the recorder and control panel to the shelves. I suggest using Velcro. Even though Velcro might not seem all that secure, it's all I use anymore to hold my mixer (Cooper or Sonosax) and recorder (Deva or PD-4) to the shelves of my cart. My cart could be turned upside down and shaken and the mixer and recorder would never budge, but it's relatively easy to remove them to go into a car or whatever. Also, the Velcro gives these pieces a degree of shock isolation you would not have when, for example, using the threaded mounting hole built into your Cantar. Glen Trew
  18. This thread started one day too early for me: Trew Audio is putting together a kit just for this purpose, consisting of two small transformer boxes, fan-out harness for the sound cart and video cart, and 100 feet of CAT5 cable. The kit is set to be on our site tomorrow. I'll post the link as soon as it's up. I have been using this system since October on a feature and several commecials. The CAT5 method is definately the way to go. Anyone want to buy my two bulky and heavy 2-audio/2-video video assist snakes? Cheap? Glen Trew
  19. I'll be there. Don't forget about the International Shotgun Sound Social at the Vegas trap and skeet club. Last year we had three countries represented. I nonominate Eric as the official organizer of that event. Also, since Eric keeps winning, I suggest getting another score keeper too. Glen Trew
  20. With proper cables, line level to the transmitter is fine. It will keep it easier too, since you will not have to change from line to mic and back if you go from wireless to cable. Glen Trew
  21. Hello Arnold, After reading your mention of "weirdly offensive and condensending posts", I read them all and didn't see any I thought seemed that way. Then I thought maybe my hurried sentence of "Use your ears and trust them" might have been the problem. If so, I'm sorry and I assure you it was not meant to be condescending at all, but more of a crede I like to work by. I hope it went well. Glen Trew
  22. Personally, I am opposed to close-mic recording of accustical musical instruments. I would go with a X-Y Stereo rig, (or a good single stereo mic) no question about it. I did this on a film I finished recently (three accoustic guitars plus dialog banter) and it was a big with the director, editor, and the musicians. Even the low-level dialog was nice and crisp from the stationary stereo rig, fairly high over head. I used a pair of Schoeps MK-41 capsules, but most traditional directional condensors (of course, keep them the same model) will have very good results. Assuming that the room is something within reason, the success depends primarily on mic placement. Probably the most common mistake is to have the stereo mic rig too close. Use your ears and trust them. Glen Trew
  23. Frankly, I'm not sure where Remote Audio is getting the webbing either. Dean Power is the Remote Audio Production Manager, and it is part of his job to source the materials for the products. For any parts not listed on the Trew Audio website (or from other Remote Audio dealers), you can call Remote Audio directly (615-256-3513) and ask Dean if he is willing to part with some of his stock or at least let you know where you can find some. Dean's not afraid to say no, but he tries to be accommodating when he can. Glen Trew
  24. As long as a negative slant is cast, to be fair, and for the benefit of those gathering information here, it would be best to play nice and be specific. What actions? What did they both say? What were they reacting too? Glen Trew
×
×
  • Create New...