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Glen Trew

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Everything posted by Glen Trew

  1. Deva 24 seminar

    Hi Tony. My POV is also of that of a Sound Mixer, but with an inside view. When I see that products are being announced and "shown" with the promise of being delivered long before any real scheduled delivery date (there still isn't a scheduled delivery date for the Deva 24), it is clearly with the intent of confusing the market at mixers' expense. Part of a dealer's job is to help the customer make informed decisions. Thanks for demonstrating the point... I understand your enthusiasm, which I share for this machine, but everyone should know that the hook has been baited with "soon" for about 3 years now, with no known end in sight.
  2. Deva 24 seminar

    Oh boy… here we go again. Being a digital processor-driven device, “a finished product in terms of hardware” can put it a long way from being finished, and a long way from being real. I didn’t “quote” Jack. “Pretty real” (that’s a quote) can mean a few things (very real, partially real, real), but until it’s ready for use on productions and available to ship, it’s not real. If fairness is a priority, Jack’s statements should include an “*” to indicate that he is compensated for promoting Zaxcom, as many are unaware of that fact. As mentioned, I saw nothing being recorded or played back during the presentation Friday at Trew in LA. I was there the entire time, three feet away. Not such as big deal, as recording/playing is probably the easy part, by now. We agree that the sound community should be properly informed, which is why I feel a responsibility, due to confusion that exists, to inform them that the Deva 24 is not ready and not available and, like when it was shown last February, it is not known when it will be. Regarding the statement “many other manufactures show products before they are ready… We did not invent this style of promotion”, I have to say that in our niche, to this degree, Zaxcom is the innovator and, by far, the industry leader. Case in point, the unveiling party for the Deva 32 -- 2-1/2 years ago -- at the Sportsman’s Lodge in Los Angeles. Never have the two manufactures you mentioned promoted like this, nor have any others that I’m aware of. Not a recent development… Who remembers the Deva 3? Finally, regarding the quote, “I think the sound community has accepted the fact that the Deva24 is very "Real" in terms of a next generation Deva that is near release.”, then mission accomplished. But statements like that underscore the need for the subject to be clarified.
  3. Deva 24 seminar

    Reality check: It seems like the Deva 24 could eventually be spectacular, but to say it's real at this point is misleading, Jack. The demo at Trew Audio this past Friday in L.A. was about the hardware, designed features, and menu operation, which were all very impressive, but it's not available because there's more work to do. Nothing was recorded or played back, so that's an unknown. It's unclear what remains to be done at this point, but until it's delivering and working in the field, it's not real. In the mean time, there are mixer/recorders that are available and working in production with an established track record, and, therefor, are real. Manufacturers are often tempted into showing products long before they are useable in an effort to discourage customers from buying what's currently available. Unfortunately, this practice stifles the market and results in people not having the best tools that they otherwise would have. With all due respect to Zaxcom, my first responsibility is to those who invest in this type of equipment. So, to be fair, I have to counter Jack's "it's real" statement and put out the reminder that the Deva 24 is not available, it has not worked on a production, and until it is all those things, it's not real. I also should mention that it's now been three years since it was unveiled in virtual form (though with the name and form of the "Deva 32"), and it's still unclear how much longer the wait might be. For now, I continue to look forward to evaluating the Deva 24 when it's working and available.
  4. Reviving a HI-Q Battery

    Remote Audio will be happy to get a replacement/exchange to you. Give Kim or Josh a call at 615-256-3513. Will be interesting to see what the problem is.
  5. Reviving a HI-Q Battery

    Could it be that the initial in-rush current of your kit is tripping the protection circuit? If you haven't already, try turning on just one device a time.
  6. new plugOn TRX from Zaxcom

    Yes, about 2.5 hours with the ZMT phantom transmitter, which is about an hour less than the plugon. Regarding the 45V phantom question, the AES spec for 48V phantom is +/- 4 volts.
  7. I want to let our Atlanta customers know that, for the safety of our staff, Trew Audio in Atlanta is now closing for the day due to hurricane Irma. However, the phones will be answered and orders can still be made.
  8. Ursa Strap

    The full URSA line, including the waist and ankle straps, is available from Trew Audio's Canada stores in Vancouver and Toronto. Of course, there is additional expense involved when shipping across the border. At this time, the full URSA line -- other than the waist and ankle belts -- are available through dealers in the US. That said, it is not true that "they are not allowed to sell them to dealers in the US". The decision to exclude the waist and ankle straps was made because the US brand of straps, NeoPax, was well established in the US, and it is yet to be determined if the unique features of the more expensive URSA brand of waist and ankle straps would be sufficient to compete with the lower cost straps from the home team. The decision to offer the URSA thigh straps to the US market was based on the belief that the unique "Gripper" strip that keeps the strap from sliding down the thigh would be enough to overcome the higher price. Evidently, that belief turned out to true for many customers. Even still, keep in mind that the differences between the two designs and materials are enough that many users will want to have both types in their kits. One is sturdier and more substantial, the other is thinner and less apparent under delicate clothing, and each have other different refinements that separate one from the other.
  9. Shotgun vs. Hyper, deeper dive

    Generally speaking (there are always exceptions), a shotgun or short shotgun is more effective for exteriors (because of no reverberation) or large interiors with high ceilings and little reverberation. Cardioids and supercardioids are often better for interiors, particularly when the walls are close and the ceiling is low. Regarding the CS-3e: There are actually 3 capsules (thus the CS-3) They are in an array, and combined in such away to give it its unusually large amount of low freq off-axis rejection. Most other shotguns become more omni directional at the low end of the frequency response.
  10. DPA 4098 - first impressions

    John, your ears regarding the 4080 are correct. I've edited my post above to be more clear. There are two things that account for the difference between what you are hearing with the standard 4080 lavelier and what you will hear with the UniFlex that uses the 4080 head: 1) The miniature suspension on the stock 4080 has a shroud that not only holds the mic and windscreen in place, it also tailors the frequency response a bit. The microphone is removed from the suspension before going into the UniFlex, so it is no longer a factor. 2) The "snoot" at the end of the UniFlex mount reduces the exposed area of the microscopic ports below the base of the 4080 (just a bit, not fully), recovering low frequency response in the process. While this also slightly reduces directionality, the end result is a fuller sound with a directional pattern ideal for car plant situations.
  11. DPA 4098 - first impressions

    As luck would have it, Sound & Picture is giving one away: https://soundandpicture.com/2017/08/win-a-dpa-4080-miniature-microphone/
  12. DPA 4098 - first impressions

    Hi John and all, By "giving up low end", I assume you are referring to the DPA-4080 compared to the 4098 or 4099, but that's not the case. I am also assuming that the frequency response is being judged by the graphs available online instead of listening to them. And by trying to "flatten the curve in post" I assume that the curve was the line drawn on the published spec sheet, and not trying to equalized by ear. What must be considered is that flat (ish) frequency curves published for the 4098 and 4099 are at a distance of 8-inches. DPA publishes curves at increasing distances for the 4098 and 4099 to show the effects of proximity effect in reducing low freq. Because of proximity effect, when the distance doubles or triples to distances typical of plant mic situations, the curve looks very much like the published curve of the 4080, showing a low freq reduction typical of directional mics used at a distance. The published curve of the 4080 does not make reference to distance or proximity effect, which is crucial information for making a comparison. Anyway, since the only thing that matters is, ultimately, is how they sound, I decided to test them with my ears -- again -- as I've done many times over the last couple of years, comparing the 4098 to the 4080. Hear are my observations: First, the output level of the 4080 was about 6dB higher than the 4098. (the spec sheet suggests that the difference is 3dB, but with my mics, the 4080 was 6dB hotter.) For dialog, this translates to a lower noise floor because less amplification is needed. Second, contrary to what some are assuming based on the freq graph, the 4080 sounds significantly more full (more low frequency transients in the voice) compared to the 4098. At a distance of 8 inches, the low freqs are similar, but as the distance increases, the 4098, undeniably, has significantly less low end than the 4080. At a distance of 2-feet (typical of car plants), the 4080 has a much more natural (fuller) low frequency response, as noticed in the resonance of a voice. Third, the rounder cardioid pattern of the 4080 is much less susceptible to head turns -- even subtle ones -- than the 4098. Since sound mixers have been getting by with the 4098 in cars and other plant situations pretty well, the above characteristics about the 4080 should only make it an even better choice for most car interior scenes.
  13. RIP - Ed Greene

    Most everyone who knew Ed Greene comments about how his mixing experience, talent, and accomplishments are surpassed only by his kind, helpful, mentoring nature, and I concur. It has been a pleasure and honor to have met with Ed every month for years at the CAS board meetings. He was a real gem that we can all aspire to be more like.
  14. Ursa Strap

    Most of the URSA products are available through Remote Audio dealers in the US. The thigh version is currently the only URSA pouch and strap available at this time to test the market, chosen because of the unique tactile "Gripper" strip that prevents the strap from sliding down the thigh. I used them on the "Nashville" show (plenty of flimsy, tight skirts on that show), and it worked like nothing else available in terms of low profile, comfort, and staying up where it's placed. Other products include the chest strap, soft circles, soft tape (very low profile, very sticky back, moleskin in a variety of precut strips. Soon to be available are the URSA pouches, which are the pouches with belt loop. These can be used a number of ways, such as sewn into custumes or attached to the back of bra, using the belt loop. Good to have several well-made options with different features from different manufactures for the daily grind of hiding wireless mics.
  15. Lectrosonics SNA 600 Antenna

    I use the SNA600 almost exclusively (two for diversity), and they work really well. I also use them for my comtek transmitter antennas by adding the 216mHz extensions (https://www.trewaudio.com/product/remote-audio-miracle-whip-mw216-kit/). Early on during my last show I was having dropout issues, so I switched to two shark fins, and still had the dropout problems. The problem turned out to be a faulty IFB transmitter, so I changed that transmitter, switched back to the SNA600 folding dipoles, and all was good. Granted, the shark fins have more gain, so in theory you can be further away, which is sometimes the case, IF they are pointing the right direction. For cart use, eventually they WILL be pointing the wrong direction, which will result in a decrease of gain compared to the folding dipoles. Also, when the actors are close to your cart (which is not all that unusual), the 8dB of gain from shark fins can overload the receiver input, causing audible problems. For these reasons, in my experience, portable shark fins are less reliable for cart use than folding dipoles. [edited Aug 7, 10am PDT ]
  16. Power Supply swapper advice please

    This could be done, but I don't know of anything commercially available like that, so it would have to be a custom build. Since you specified -12V, you seem to already know that the Nagra 4.2 has a positive ground. Keep in mind that while 12V will operate the Nagra 4.2 with full specs, the rewind function will be very slow with 12V.
  17. Dpa 4061 and double bass in beach

    I think it sounds really nice. Not only do you have some of the resonance, but also the bow and string sound. When the mic is hidden by being place in the F holes, the bow and string sound is nearly lost. If I would have any thing different with your recording, it would be to have more resonance, but given the restraints you had, I think it's excellent. The DPA worked well, and the Lectro held up well. I don't hear the transmitter limiter activating, which suggests you put some effort into setting the Lectro input level correctly. Well done.
  18. Hi DC106. I'm curious why you would choose the MKH50. Have you considered the MKH40?
  19. DUNKIRK: Too Loud?

    I read an interview where an actual soldier from Dunkirk sad the movie was louder than the war zone he remembers.
  20. DPA 4098 - first impressions

    Rado and I are together on this. The 4098 was not billed as a film production mic until people in the field saw it's usefulness for plant mics, particularly in cars. It was originally billed as a lectern microphone that would also be feeding loudspeakers. They are certainly a useful tool to have on the set, and I have used them successfully as car plants, but I much prefer the sound quality characteristics of the shorter, more open, 4080 for this use.
  21. NEW: Zoom LiveTrak L-12

    This spec is the capacity of the power supply, not the current draw of the mixer/recorder, so the draw of the mixer/recorder would have to be somewhat less. However, with all of the mic inputs and AD/DA converters in this device, even 2A @12V would be impressively low. The good news for production sound (as maybe you were alluding) is that it can be powered with an external 12VDC on a commonly used connector, which seems to have (hopefully) a 2.1mm inside diameter (same as Lectro uses). Trew Audio has them on order, and Zoom tells use that production deliveries may be a month away.
  22. NEW: Zoom LiveTrak L-12

    i'm looking forward to checking one out. Regarding the 60dB gain, while that's low compared to the preamps on some other, more expensive mixers, It's unusual to need more that 60dB gain with the high-output condenser microphones we normally use. Plus, the fact is that most of the preamps we use these days are are built into the wireless transmitter. At first glance, though, it's hard to seriously imagine this mixer for dialog on a video drama production, if for no other reason than the very short throw faders. But I'm keeping an open mind until I get my hands and ears on one.
  23. RIP LOON

    Thanks, Jim, for pointing out so many of Don's achievements.
  24. MovieSlate and Sound Reports

    On my recent show I used Movie Slate exclusively, and didn't use the recorder-generated report on the Deva 5.8. Before the show started I set up a nice rig to hold my iPad, which looked very impressive and high-tech on my cart. Then one day I left my iPad at home. After freaking out, I remembered that I had Movie Slate installed on my phone, and felt I had no choice but to learn how to get by with Movie Slate and just my phone. At the end of the day I decided that the phone was all I needed, and the only advantage to using the iPad was for the cool appearance. So, for the next 8 months of the production, I used only my iPhone with Movie Slate for sound reports. The reports looked the same to those who received them, and the smaller size actually let me enter the data more quickly. I eventually got to the point that I wouldn't bother to try to advance each take every time I rolled. Even if I didn't enter any data into movie slate from the beginning of the day to the lunch time break, I could easily catch up the days work in just a few minutes before emailing the reports. Movie Slate... iPhone. All you need.
  25. One frame out of sync is noticeable. Two or more frames out is distracting and unacceptable. It is a said state that we have become so accustomed to seeing sound and picture several frames or more out of sync, we have become numb to seeing lips out of sync with words, just like so many have become numb to out-of-perspective sound of body mics. While there might be reasons to have to deal with out-of-perspective sound, there is no excuse for living with out of sync sound.