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Everything posted by TommygunZA

  1. I recorded one of my files as an MP3 on my SD633 and I must say the playback on the SD sounds pretty shocking. I recorded at 192kbps and it is all artifacty and has those high pitch squiggly sounds. It sounds vaguely better played on my PC. Is this a standard thing with the 633? Currently Im just taking the wav files and encoding them using Audacity and they sound a million times (well at least twice) better than the native MP3s. Im going to have a shot with 320kbps and see if its any better. Has anyone else noticed this? Im only trying as a client wants stuff as MP3.
  2. Id be interested in what peoples first investment was with their own hard earned cash in terms of sound gear and setting themselves up as a 'soundie'. Maybe state if it was for TV or for Film and if you can remember the cost. Maybe you hired or the gear was already there for you to use initially but at some stage you wanted your own "stuff', even if it was recording direct to a wax drum, I know there are some old timers out there...What was it? I did search the forums (probably not so well) so feel free to delete this thread if its has been discussed ad nauseum...
  3. I've opened a ticket with SD and they suggested exactly what JohnGooch said I should do..which didn't help. Could I ask any of you who have a mixer (SD633) and mic close to hand to try record a brief MP3 and have a listen to see if you get the artifacts too. It would make trouble shooting a lot easier if there are a few SD633 owners with the same problem. Ill report back if the SD help desk sort me out.
  4. (ambivalent smiley face) Good point, ill mail em now.
  5. Reflashed my SD633 from 4.50 to 4.51 (at least I got an update out of this process). Did a factory reset and proceeded to record to my (reformatted) SD card (approved media) Did some recordings at 192kbps and have exactly the same artifacty squiggly sounds in the background (its not massive but it is there) Did the same on my Zoom H4n (mp3/192kbps). No artifacts on the Zoom recording (admittedly higher noise floor). Its not a train smash as I mentioned, I can take the ISO's and encode to MP3 on my PC I was just kinda expecting better from Sound Devices? Id love it if any other 633 users gave it a go and reported back.
  6. Gosh...thanks John, Ill give it a go and report back.
  7. Ive been upgrading my equipment, got the SD633, got some cos 11 for my sony wireless and am very happy. My current rifle, Sen me66+k6 needs an update and already own the Rycote ws4+ fluffy etc. I was looking at the usual 416 or mkh8060. Here in ZA they are a little pricey at Rand 18,000, about 1400dollars. Ive seen an MKH70 with blimp, fluffy and pistol grip for about R13,000 or just under $1000. I know its more outdoor (as is the 416?) Is it worth getting providing its in good condition. Im figuring its better than the ME66 and could tide me over till I get the 8060 and Ill have some cash left over to eat...Any ideas on the mic? TIA
  8. Oh my. I think y'all convinced me. Gonna. get a cheap second hand Peavey Valve amp (peavey classic 50) for the guitar and keep saving for the 416 or mkh 8060. Thanks guys.
  9. No pun intended but I hear you. I just cant resist a bargain! If worst comes to worst Ill keep with the ME66 as no one has complained so far and I actually do do a lot of run and gun ENG jostling for position. At least its a reasonable outdoor and I can get a more indoorsy one next. Soundies outside the US and EU really are squeezed on price and availability of gear and of course import taxes. I should maybe listen to my wife though who says "Even a bargain costs money!" Thanks for all the feedback.
  10. Really, no mixer or boom, cables/umbilical, wireless? You could get a job with just that? You must be a good talker/salesman! Or did you just hire the rest?
  11. Thanks for the responses. As always it must be a mic that can do it all!! That's why I initially wanted the 8060 as a good all rounder. I do realise its horses for courses and ideally Id have at least 3 good rifle MIcs for indoors and outdoors with different pick up time. I think I will go for it (the mkh70)as it will be better than the me66 (although I quite like that too, *gasp*(and give me more kudos with those who really care, me included)) and with the pistol grip, blimp and fluffy I cant loose (too much). I think the posts asking "What mic should I buy" are generally people wanting the best all rounder for every situation including underwater and in the north pole. I don't believe all the people on this board went and bought 2 or 3 rifle mics straight off? Now I think of it, if its not been done already a thread on what your first bought kit set up was (with your own cash)
  12. Possible stupid question here but going thru the manual of the Sound devices 633 and 302 and fiddling is not illuminating me. On my old SD302 there was a tape out, a 2 channel output on a single TA3 connector. This I had terminate in 2*1/4 inch jacks which went to my Zoom h4 recorder. Stuff panned left on the 302 went...left on the zoom, centered went to both channels and right went to right. On my SD 633 When I assign master mix L+R to my X1 TA3 output and use the same connector and plug to my Zoom (just using it for testing at the mo) my panning on the mixer has no effect on which channel the signal goes to. Am I doing something wrong or is X1 a mono summed output. To get a true stereo out am I going to have to use both X1 (left) and X2 (right)?
  13. This may be stating the obvious but on the fs7 there is a really small switch, TC in and TC out just bellow the bnc comnnector.
  14. Just to revive this thread as I've now had some minimal exposure to the camera. I'm doing a multi cam shoot. You need the backplate (XDCA) to jam to a bnc connector. The backplate enables V-lock batteries which are not useable without it. After jamming you can remove the backplate and it will (kinda)keep timecode. We Jam 3 cams from one, then us soundies jam to the master camera with our mixers. Im using the 633 and use the "free run jam once" option (not sure if that's good), the others are using the zoom f8 mixers. After about 3hrs Im about 1sec ahead of the master cam and the Zooms are about 1 sec behind... We are all on 25fps. Im also sending a scratch track. I suggest frequent jamming and as someone said, its good to connect with the camera crew on occasion. As an aside the cams take the sony shoe which you can mount Sony receivers on (should you want) and the signal and power pass through the shoe to the receiver. No cables or batteries.
  15. I was just stumbling around the net and ran into this Ted talk which I'd not seen before. Pretty basic for most people here but nicely encapsulated and makes us sound recordists think a little about the job of sound designers.
  16. Thanks Rich. Glad I was interpreting it correctly. I guess I'm mainly going to be sending scratch tracks but I do feel a bit sad about the loss of my stereo tape out on one connector.
  17. I have just taken delivery of my SD 633, upgrading from my 302 (which Ill keep to add 2 more mic inputs to the 633) Anyway... I'm going through the settings on my mixer and getting things configured to the way I think I will be using it mostly. Is there a place here for a thread about users setups of their pieces of equipment and their personal configuration. Maybe headphone assigns and why, outputs, metadata setup etc. I'm sure there are many people here who have nifty tricks and reasons for particular configs and setups that I would never think about or have not come across. It would be good for me to read what people think are essential to their setup and workflow. Maybe have a thread for each unique piece of equipment and the users setups and reasons under that? This would also be useful for people hiring gear they were not that familiar with or when they buy new gear. I could just search the thread for Sound devices 633 and find 5 different peoples setups, maybe they are all the same, or maybe all different or there is overlap.
  18. Mmmm, the RTFM retort. Good point.
  19. In run and gun/unscripted scenarios how do you guys balance getting good sound with getting a good take? I've been around on shoots where there is some epic emotional heart rending moment, the camera has been rolling a few minutes and the talent has forgotten its there, the tears are welling up and the sound guy will shout, "No, I just heard some dogs barking". Other times you go on a shoot and inevitably there is building work next door or a constantly circling helicopter. You need to get the job done though (often with time constraints) and will mic appropriately but you will inevitably have noise/issues. Do you demand a new location or shout, " I cant work like this". Camera ppl never worry as they are getting great visuals. I do find some of my colleagues are a bit neurotic and maybe we are more finicky than we need to be on occasion (Im not talking feature film or commercial) but general vidiot stuff . We worry about a lot and bit rates and high quality gear but do the public really give a toss if its been recorded at 16bit or 24 and at 44 or 192? Do they notice a Schoeps vs a Rode? once its been edited, bounced off a satellite in space and comes out of the 6" spkr on their tv or computer? I guess its a bit more important now with lossless digital delivery but there is certainly audio fidelity degradation along the path. Im not sloppy (I dont think, but reading some posts here makes me think maybe I am :)) So I guess my question is about expedience, getting a job done and where the general public start to care?
  20. Sry, Im new here...iso(s) meaning isolated tracks rather than mixed? As an aside it would be quite nice to have a glossary on the forum that people could add to. There are a few acronyms that people bandy around here that are somewhat recondite and doing a search for them sometimes yields 200 results which all look wrong. Maybe Ill just ask when confused and free myself from the shame of looking like a twit. I might have some suggestions but the guy controlling the budget may not like them...
  21. Does the 442 have an option like the 302 (i think) of using the monitor/headphone return as a 2 track input also using a stereo mini jack? Aside from that it looks challenging specially if you are mixing live and booming Not sure if this would work as Ive not used the gear but (what kind of wireless mics?) 4 mics into the 422, the output from the 442 via XLR to TAF connectors into the 744 and the other 2 wireless mics (maybe on those with most dialogue) into the remaining XLR mic sockets on the 744. But you still mixing a lot (4 to 2) at least. |I am a cheapskate bodge it dude although on this even I might walk away. Good luck! BTW come back and let us know how it went, we all like a good laugh here.
  22. I couldnt see a specific thread about Pluraleyes but I could see a lot of very sceptical posts about the softwares ability from around 2111/2012. I have worked with a lot of people (editors) who absolutely swear by it and when I do 5D work I can just give them the audio files and nothing else (it helps if times of day matches a bit) and I've not had wines or gripes. I did do one job here in ZA for an American company who insisted I got a big ass SD mixer (as well as top of the range everything which was hired at great expense) and we shot on some bigger Cannon cameras and the time code kept drifting and there is always the framerate issue. Now enough time has gone by for people to know. if you have a scratch track on the camera are you soundies and editors happy with Pluraleyes results or are there still sceptics out there and if so why?
  23. I would like a software update for the SD 633 to be able to overdub. Id love to be able to use it like the old portastudio cassette decks where you recorded tracks, overdubbed and bounced down. Im sure its goto be possible and might even get more over the units sold...not that Sound deveices really need any help. This is my wish for my forgotten musical career.
  24. Firstly, Thanks Constantin for unhijacking my thread from tentacle. Although all this info is an education for me. Date time stamp on the camera/audio recorder seems a good way to go but offset on 4+ cameras has got to be a pain? To Constantin, I believe Pluraleyes can handle audio drop out so its not a train smash. I think the easy way to go for multi (cheap) cam shoot would be send one scratch track from the mixer to 4+ receivers set to the same channel which may be what Mr Perkins is suggesting? It seems from posts that pluraleyes is a "good thing" and paired with decent audio (ie scratch track) even with drop outs it will match well....all I need now are 4 receivers that pick up my one transmitter. Now you can return to the pros and cons of tentacle.
  25. Thanks. That all makes good sense to me.