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Glen Trew

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Everything posted by Glen Trew

  1. 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 Unless recording actual left/right stereo, the concept of "left" and "right" is a way outdated approach for most production sync sound.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.
  2. 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.
  3. 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.
  4. Zoom F8

    24 x 0.999 = 23.97600000000
  5. 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.
  6. Ursa Strap

    For those who may not have heard, the complete line of URSA products is now available in the US from the usual dealers.
  7. New Power Distribution System from AudioRoot

    Just FYI: and Trew Audio.
  8. Sometimes things slip through

    How do we know it's not from her phone ear buds? That type of thing doesn't bother me or distract me from a show. What does take me out of the moment is when a person looks 15 feet away but sounds like they are 6-inches away. Now that's a faux pas to be bothered by!
  9. Sony MDR 7506 coiled cable

    Replace the Beyer cable with the Sony cable and see what happens.
  10. Sony MDR 7506 coiled cable

    Here's another video I found while looking for relevant content
  11. Sony MDR 7506 coiled cable

    Here are two replacement cables for Sony MDR-7506, made with production sound in mind. Shorter than the original Sony cable, and won't tangle: https://www.trewaudio.com/product/remote-audio-7506sc/ https://www.trewaudio.com/product/remote-audio-7506cc/
  12. 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.
  13. Boom and Live Vocals. Good lesson from 1955.

    Such a voice was not standard with actors then, either, but the recording technique was standard, and should still be. I've worked with many actors who are great singers, but they are so accustomed to the pre-record lip sync method that they believe there is no other way, as do many mixers.
  14. DPA 4098 - first impressions

    The DPA microdot/TA5 adapter they make for Lectrosonics has a 3.9K resistor inside. I haven't tried to open one to see if it could be changed, but I agree that a bit more level would be better for TV/dialog.
  15. shock mount

    Does it bend the same amount in the other direction if the mic is pointing up?
  16. DPA 4098 - first impressions

    Good find, Constantin. I don't know for sure who wrote this Lectrosonics FAQ answer, but it seems to have Larry Fisher all over it! To save time with the link, here is the text: #116 - WIRELESS - The lavaliere mic I want to use calls for 5 Volts but the Lectro transmitter only provides 4 Volts. Is this a problem? For a typical two wire lavaliere mic that specifies 5 Volts, the manufacturer is actually assuming that the transmitter has a 5 Volt supply in series with a bias resistor of 1k to 5k, depending on the brand of transmitter. The actual voltage at the mic will be 5 Volts minus the drop across the bias resistor. For example, a mic that is listed to draw 500 uAmp would produce a 2.5 Volt drop across a 5k bias resistor. The mic would only see 2.5 Volts (5V minus 2.5V drop). A different mic that pulled only 100 uA would see 4.5 Volts. So for most all transmitters, the voltage to the mic is all over the map. Generally the mics still work, because they actually can handle a wide range of voltages.All the current Lectro transmitter models, such as the LMa, have a servo input that regulates the bias voltage to exactly 4 Volts under any condition of bias current. The voltage is set to 4 Volts by using the pin 2 to pin 4 wiring. This allows us to handle a wide range of microphones with any current draw with no concern about excessive voltage drop across the bias resistor and is unique to the Lectro transmitters. We chose 4 Volts because this was a typical design voltage and all the professional lavaliere mics we looked at worked very well at that voltage. The one exception is the tiny Countryman B6 and E6 models which require 2 Volts at high current. For the Countryman mics Pin 4 is NOT connected to Pin 2 and this sets the servo input to a regulated 2 Volts which is ideal for those lavaliere mics.
  17. Audio LTC Framerate conversion?

    Consider that 24fps and 25fps start at the same place each second. There is no drift. Seems to me that the worst case would be having to use the slate to fine tune the sync within one second.
  18. DPA 4098 - first impressions

    The Lectrosonics bias voltage is 5V. The DPA6001 bias voltage is 5V. I'm not sure why he thought it would "maybe" make a difference.
  19. DPA 4098 - first impressions

    The 48v phantom adapter converts 48v phantom to the 5 volts required by the 4098 or other lav mic. It basically simulates a transmitter's input.
  20. DPA 4098 - first impressions

    The length of the mic element housing, or "snoot" as we call it, is determined by the amount of gooseneck needed to securely mount the assembly, and the need to take up slack in the cable after the connector is installed. The short answer: It could possibly a 1/4-inch shorter but not more. The goal for the Uniflex is to have a microphone similar to the 4098 but with a cardioid pattern more useful for car plant use. The UniFlex can be mounted above in a visor or just like a 4098, as well as being mounted below in the front seat console area, as well as in the back of the front seat pointing toward the rear passengers.
  21. Ambient/Denecke timecode disparity

    Denecke has always had efficient abbreviations. For 23.976, they simply use "23", which is definitely not 24. However, the TS-2 always had 29.97. In a pinch, you can set your slate to 29.97, as at least there wouldn't be any drift. It would be spot on at the beginning of each second.
  22. Ambient/Denecke timecode disparity

    How much drift over how long? I could be wrong, but If I recall correctly, the original TS-2 slates didn't have 23.976, and was available later as an upgrade, which became standard on all TS-2s. Standby for a correction if I'm wrong. Anyway, if you can see the drift after 20 minutes, then it's probably not a calibration issue, but a setting issue.
  23. DPA 4098 - first impressions

    Maybe it was me who wasn't sufficiently detailed... What I was saying is that the 4080 in lavelier form does not sound exactly like the 4080 in the UniFlex gooseneck, which is more flat. This is because the shroud around the interference tube is not used with the gooseneck.
  24. BDS connectors

    Zaxcom and the BDS use the longer shank connectors. This was chosen for the BDS so that the circuit is not active until the long shank connector is fully plugged in. Remote Audio has the proper connector in a molded right angle pigtailed cable: https://www.trewaudio.com/product/remote-audio-bdscpt/
  25. DPA 4098 - first impressions

    Have not. I get that it might sometimes be helpful in car visors, but the straight configuration is easy to use in the visor, and mount below on the console, and on the steering column, and seat pocket for the backseat.