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Glen Trew

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Everything posted by Glen Trew

  1. Sound sync advice using film 0.01%

    Hi John. I'm sure you meant 0.1% (.001x). Eric, assuming the film will be transferred to video for editing, it will probably be pulled down .1%, to 23.976. So that the sound stays in sync during the pull down, it should be recorded at a sampling freq of 48.048 (.1% faster), so that when it is pulled down, it will be at the desired sampling freq of 48K. However, it seems that the MixPre3 does not have 48.048 as an option, which is probably what your friend was trying to tell you.
  2. Nagra Stories Sound-men won’t ever tell

    Hi Jon. Keep in mind that a recording made with Nagra Master must be played back on a Nagra IV-S (or Nagra T-Audio) in Nagra Master mode. Nagra Master recordings are done at 15ips, but with the pre-emphasis of a 7-1/2ips curve, requiring the Nagra Master playback setting during playback. I'm not aware of a Technics machine that has a Nagra Master playback mode. I imagine that when you playback a Nagra Master recording on a Technics machine, it sounds uncommonly sibilant and bright by comparison, which is not an accurate reproduction.
  3. Nagra Stories Sound-men won’t ever tell

    It's confirmed that the bias board is no longer available, but we do have some of the Nagra transformers for converting your existing bias board into a proper bias board for your wide 2-track heads. Price looks to be $255 for the transformer. Estimating 2-hours to install, plus time to calibrate.
  4. recommendations for double-sided tape for plastic mounts

    Here is a link to a lot of mounting options, including sticky things: https://www.trewaudio.com/product-category/expendables/expendables-lavalier-accessories/?q=product-category%2Fexpendables%2Fexpendables-lavalier-accessories%2F&products-per-page=48 Also, there is an item not listed above (may be it will be by the time you read this), that is worth knowing about, called "Super Stick It" and Super Stick It Dots" (photo of package below), also stocked at Trew Audio. This item is like Top Stick, but much stickier. It comes in precut strips like Top Stick, but also in round dots.
  5. Nagra Stories Sound-men won’t ever tell

    I understand that the board is not available. However, the difference is only the bias voltage transformer, so we are checking to see if the transformer is available. If so, I'm told that the transformer can be changed on your existing bias board so that it can make full use of the wider track heads.
  6. Nagra Stories Sound-men won’t ever tell

    Trew Audio has installed many standard width 2-track heads on Nagra IV-S recorders. However, if I recall correctly, we received the last of these 2-track heads from Nagra a couple of years ago. That said, there may be a set on some shop's shelf, but remember that to achieve the small advantage of the wider track heads, the bias board should also be replaced to the one designed for these heads.
  7. North Korea microphone surplus.

    It does like the D224e, which does, indeed, have two capsules. However, both capsules are built in and they do not screw off.
  8. Best Position of Shotgun Mic in Blimp

    I'll just add that not only is it not critical, it makes no difference. Position the mic so that it doesn't hit the front, back, or sides, is balanced in the suspension, and there is a good amount of slack in the internal cable.
  9. New audiophile (?) portable reel-to-reel recorder coming?

    Yes... Add tape hiss, system noise, harmonic distortion, and wow and flutter to a modern digital recorder, and make the response curve uneven by +/- a couple of dB, and it would be hard to tell the difference. I love the old analog Nagra recorders as much as anyone, and have thousands of hours with them in production, and Trew Audio still services them often. But when it comes to accurate reproduction of a microphone, there is no reason to use them over a modern 48K/24bit digital recorder. The only exception would be when it's necessary to over drive the track with gun shots or door slams, in which case analog tape wins every time.
  10. Best Position of Shotgun Mic in Blimp

    The orientation fo the tube slots (left, right, up, down, horizontal, vertical) has no affect not he characteristics of the microphone. The symmetrical design was just for ease of manufacture, and could have had just as well been three rows of slots with the same area. In fact, a three row design may have been better, as it would have removed the question about how to orient them.
  11. North Korea microphone surplus.

    Microphone Man
  12. Nagra Stories Sound-men won’t ever tell

    I'm afraid I don't remember the process, and it depends on whether or not you have the 2-way system ("decoded" monitoring during record). There are manuals floating around you might search for. If I recall correctly, the IV-S is set up normally, and the Dolby setup is done on the Bryston units.
  13. Today I saw this 1955 TV production of Tennessee Earnie Ford because one of the kids is a friend of mine. One thing that stands out to me is that it serves as a good reminder about how simpler is often better, especially when the goal is to capture the essence of a music performance and entertainment, and the impromptu life the happens during it. Live on-camera vocals picked up with an overhead boom mic, no earwigs, no wireless mics, no body mics, no hand mics in anyone's face, no prerecord, live orchestra off-stage, live background vocals off-stage around a single mic. Yes, there is noticeable system noise from the early recording technology, and it was mixed live to a single track with no edits. But I dare say that the subtle nuances still come through better than most performances would today with 24bit and a hard drive full of tracks. Something to ponder.
  14. Belden Mini Starquad is really good for what you described. Not so much for the starquad configuration (but doesn't hurt), but for it's size, durability, and flexibility.
  15. Zaxcom lectro sanken universal wiring

    Seeing a finished example of the kit is worth the trip to the EAA museum. Sadly, it's also what killed Mr. Heath. First kit? Nope.
  16. Boom and Live Vocals. Good lesson from 1955.

    She was whispering. It's there.
  17. UniFlex Mini Gooseneck Refined

    Hello All. The UniFlex mini gooseneck cardioid, currently using the DPA 4080 miniature mic, has been refined. The differences are: 1) Shorter, thinner, sleeker brass head, making a much lower profile when bent. 2) Powder-coat matt black finish 3) 6-1/4 inch overall length Reminder for those unaware: The UniFlex is a miniature gooseneck mic using the DPA 4080 cardioid element, and terminated with either a TA5F connector for Lectrosonics, or a MicroDot connector for adapting to wireless transmitter brands. It is very similar to the DPA 4098, but with a much shorter mic head and rounder (cardioid) pickup pattern (the 4098 is a tighter lobe-type pattern). Plug it directly into a transmitter for a quick plant. The first batch is mostly sold out, though the last few were shipped to Trew Audio locations today (but may be spoken for already). Preparing for another run of 50 soon. Reports from the field have been very good. Pre orders accepted. Photos below are of the new version.
  18. Zaxcom lectro sanken universal wiring

    I was a Heath Kit kid. Had a HiFi amp, tuner, and preamp. All tubes. Karen Carpenter never sounded so good. Still use a couple of Heath Kit oscillators. Side Bar: Anyone know what the first Heathkit was?
  19. Boom and Live Vocals. Good lesson from 1955.

    Hi Philippe! I was in diapers then, so they wouldn't let me work on this show! A friend of mine was one of the kids on the show. But this piece was mixed live, mono, with no cuts.
  20. Black Friday & Cyber Monday Deals 2017

    Here's some more: https://www.trewaudio.com/black-friday-2017/
  21. ISO's vs. Mix Track

    I agree with Mirror here, even though I know some still hold on to the antiquated boom left, lavs right "split tracks", practice. The only valid reason I can come up with for ever doing that is if post only has two tracks to deal with. Even then I would put the mono mix on 1 and the boom on 2, allowing post to use just the boom, or add more of the boom, or reduce the boom by inverting the phase and mixing it in. Unless recording actual left/right stereo, the concept of "left" and "right" is a way outdated approach for most production sync sound. Instead of "left" and "right", it makes much more sense to think of the tracks as 1 through 8 (or 12 or 16, or however many you use), and then label what goes on the tracks. Since the days of the 4-track Deva-2, mine have been MIX on 1, PREFADER ISO on remaining tracks. Though there are still some holdouts for one reason or another, the trend continues to move away from the "split track" practice.
  22. Sony MDR 7506 coiled cable

    Yep. Here's a secret in what makes the commercial coiled cables tighter: Put an end into a power drill and reverse the coil all the way down.
  23. Sony MDR 7506 coiled cable

    Wrapping the Sony cable around the headphones is a sure way to age the cable quickly, of course. Keep in mind that the Sony cable was built for comfort, not speed and is not well suited for the rigors of production sound, particularly in "run-and-gun" bag productions. The Beyer DT-48 coiled cable was much tougher, I suppose to ensure the pain of wear them for a lifetime.
  24. Zoom F8

    24 x 0.999 = 23.97600000000
  25. ISO's vs. Mix Track

    Read the previous threads on the subject, and then put a mix on track 1, and prefader isos on remaining tracks.
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