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PCMsoundie

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About PCMsoundie

  • Birthday January 1

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    Charlotte, NC
  • About
    website: https://www.imdb.com/name/nm0586599/
  • Interested in Sound for Picture
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  1. While I am always sad to hear of less companies making professional mixing/sound recorders in our small niche fied (Fostex, Tascam) Aaton is one more company though Martin Lonek made it clear what some of the actual user issues were. I had heard on this forum in mid-2000s mixers who worked on Warner Brothers lot had to use Warner's owned Aaton Cantar I think as a recorder. Tascam had HS-P82 8-Track Pro Field Recorder with timecode which had similar features to a SD788T when it was released. Tascam now only has a videographer level Portacapture X8 4-XLR input+2 built-in mics/ 32-bit float Portable Audio Field Recorder for $500USD. under their audio for video category on their website. I'd love to see Tascam take the guts of 1 RU DA-6400 64-channel Digital Multitrack Recorder -AC power only and requires a IF-DA64 Dante card to connect to their TASCAM Sonicview 16XP console they released last year that has 64-in/64-out built-in Dante interface. AC power only. and create a new field recorder to compete with Scorpio.
  2. I use Canare 4E6S star quad microphone cables in colors other than black. The brighter colors require more cleaning to stay not looking dirty. Canare uses specially formulated PVC compounds on outer jacket . I've used Goo Gone Adhesive Remover but thought there may be something better and wanted to ask our community. I'd like to discuss products used and methods to clean Canare cables. When researching adhesive remover for 3M Transpore surgical tape I found but I have not tried any of the below: Goo Gone Pro-Power - Pro Strength Adhesive Remover Smith & Nephew Remove Adhesive Remover -Universal adhesive remover wipes Mineral oil Isopropyl Alcohol and leave it on for minutes Pro-form 621 Wax and Grease Remover - Strong [Strong pre-cleaner solvent], to clean metal surfaces before painting. most effective but smells like diesel & gasoline. followed with Isopropyl Alcohol. 3M 051131-35975 Tape and Residue Remover - tub 3M model S-17291 Adhesive Remover - Industrial Grade - maintenance & Cleaning - spray Goo Gone Bandage Adhesive Remover For Skin - Sports Tape, KT Tape, Temporary Tattoos, Ink, Medical Bandages window cleaner Pancro Professional Lens Cleaner Goof Off Professional Strength Multi-Surface Remover Smith and Nephew UNI-SOLVE Adhesive Remover Wipes WD-40 Goof Off FG673 Graffiti Remover nail-polish remover and a clean-up solvent like Acetone, mineral spirits, Zippo lighter fuel, paint thinnner all seem like it could damage the cable jacket permanently. Is it generally not recommended to put a protectant on the Canare XLR cable like Like Armor All Original Protectant? I've found it leaves a bad feeling on my hands as it slowly comes off when handling cable and seemed to do more harm to my hands then help keep the cable clean. Also if you have a specific method of 2 or 3 products in a specific order I'd like to hear it.
  3. The product that started on Kickstarter was created is Iterative Features, LLC https://www.facebook.com/people/DishTC/100057616712042/ https://dish.tc/ offers two products: Dish DM and Dish Pro. I heard you can get Dish Pro if you ask for a price quote from Gotham Sound and order it directly from Gotham as they don't stock it in house. Dish.TC says: The issue with GPS-derived sync is you need almost a clear view of the sky to get a lock on 1 GPS signal for the UTC stamp. As you know in your car using GPS you need a minimum of 3 GPS signals to triangulate for navigation and 4 signals to show height. If you have a show indoors in a basement and put your batteries in inside the location no GPS signal = no timecode on startup. The solution would be to put in batteries and make sure the GPS receivers all see the sky first at start of day. The replacement for SMPTE12 TC which development of the SMPTE ST 2059 family of standards for synchronization using the Precision Time Protocol (PTP).see ST 2059-1:2015 - SMPTE Standard - Generation and Alignment of Interface Signals to the SMPTE Epoch | SMPTE Standard | IEEE Xplore and ST 2120 are all of the standards and it's all moving to IP for professional broadcast video. Things like 60fps and 120fps are real in 4k and 8k UHD2 formats and need to be added to a SMPTE standard for audio to have a way to sync to these framerates. (No not overcranking.) Like Constantin mentioned wordclock and Genlock Sync are totally related and should be considered in any new product away from our current workflow of sound for picture on film/TV sets and while you may not need Genlock in 10 minute takes on a narrative film set others will when shooting with multiple camera manufacturer's models and sound doing a concert or 3 hour long event recording in-camera as TC sync with a stamp is only accurate on the first frame. the drift occurs from the internal clocks being different.
  4. Brett, Neutrik NA2-IO-DLINE I have this and have used it to provide 2 more LINE Level analog inputs to 888 after my 8 local micpres and first 4 AES channels (on 2 XLRs) when using XL-AES. I’ve tested it for outputs as well. I have the Audinate AVIO 2 XLR LINE OUT . Works fine. you mentioned RDL SF-XMN4 - 4 mic/line inputs, 48v ph, compact Similar options are Shure ANIN4IN-XLR $625.USD MicPre or LINE Level Dante Audio and Controlled remotely via Browser-based software control for all device parameters via single Ethernet. Imagine remoting your older Lectro SRc receivers with this. per input channel: Preamp gain Has 4 Band C/S Parametric EQ on every channel Mute control Digital gain Polarity control Phantom power Manual- https://pubs.shure.com/guide/ANI4IN/en-US Also Tascam MM-4D/IN-X $750.USD 108dB SNR built-in DSP mixer: Compressors, parametric EQs, limiter, delay Browser-based software control for all device parameters https://tascam.com/us/product/mm-4d_in-x/top this model can be powered by external DC power OR PoE. Software info: Control via pc/mac laptop or ios ipad Phantom power (+48V) ON / OFF (mic input) PAD (mic input) Mic gain (mic input) MIC/Line input switch Compressor 4 band parametric EQ Auto level control Mute Fader TASCAM DCP CONNECT https://tascam.jp/us/product/tascam_dcp_connect/top
  5. Phillip since Genlock sync (and since everything is HD and above we are talking about Tri-level sync) is what this thread is about and very long takes and all video devices does fall under camera department does that include sync and the tool to do it properly: Genlock with Tri-Level Sync? As you point out there is no technical director/DIT/video engineer usually sync of sound to picture is our department. Single camera is simple. Multi-camera is where it gets grey area. If Genlock sync is not requested is it up to the sound department to ensure ALL cameras are in sync WITH the sound recording? No not just on the first frame with metadata stamp in the file header. Where does IATSE camera union fall on this topic of having a video engineer/DIT (NOT a media manager) to handle technical camera things like Genlock sync? Can sound department handle Genlock sync? Is sound department on a IATSE show NOT allowed to handle Genlock at all? Does is end with out department suggesting a slate clap at heads and tails? If the cameras are out of sync at tail slate it is not up to sound department for why it is not in sync if no Genlock sync was used? I would guess if it is being recorded using LOG and no IMAG (image magnification) then no need for video engineers (shaders) to shade cameras live and a live video switcher/TD. At what point on productions is a TD/video engineer officially needed, hired, involved in pre-production and the show is using Genlock? It seems like a discussion before a location tech scout. Can anyone here speak about Netflix/HBO/Amazon comedy specials shot on HD or 4k recorded over 2-3 hours or music concerts and how sync was handled for all cameras specifically? Are the timecode boxes enough for say an 8-camera shoot recording 3 hours at that level of production? What about a mix and match of camera manufacturers and models? If there was a rackmounted House Video Sync/Master Clock Generator like with with video outputs. word clock outputs, two AES3/11 used? Did you take wordclock or AES3 [AES11 =the connection is referred to as a Digital Audio Reference Signal (DARS)] for sync? How did the pre-production discussion regarding sync and timing go? I think the music concert shoot and Dante Audio shared resources is a different topic though related. Since All Dante-enabled devices use Precision Time Protocol (PTP) a Dante Primary Leader Clock must be chosen in advance and cannot change during the show that is part of a discussion of sharing mic inputs as resources on the Dante network for the broadcast mixer to use along with crowd ambience mics to mix for a livestream and record separate from the event house PA audio. That all gets into sometimes more than 64 ISO tracks, DANTE/MADI routing, backup multitrack recorders and also secondary networks and more layers. A separate thread should be for that and Dante master clock.
  6. Would you say on any concerts, comedy performances, musical theatre performance, and live events where multicam is there is a video engineer that would handle that with long BNC cables for Genlock or else the camera dept would provide a portable Genlock device for a dolly, slider, Steadicam? Do they ALSO provide a BNC to the stationary sound table with synced from the the Master Clock system on-set providing Genlock OR as an additional sync output 48kHz Wordclock or AES11? or would that be a portable Genlock device the camera dept would provide for sound dept. only as Genlock ONLY?? Does anyone have experience with how the camera dept. would be handling this ? No I am not talking timecode. Would 1st Camera ACs have any experience with it or would it strictly fall under video engineer/DIT? (Not a media manager but a Digital Imaging Technician). IATSE Union or Non-Union. I was just looking to see what experiences people have had with cameras and sound being in true synchronization for 2 hour+ takes.
  7. thanks for bringing this to our attention. I think most our gear is safe from this RF block. intermods though? in Comteks Operating Frequency: 216-217 MHz? Now if you have old Lectrosonics CR185 models working in the 169Mhz range... Astronomy & Astrophysics magazine https://www.aanda.org/component/article?access=doi&doi=10.1051/0004-6361/202346374
  8. It is a law in NY state requires "Retailers that sell rechargeable batteries OR rechargeable battery containing products must accept used rechargeable batteries from NYS consumers." The NYS Rechargeable Battery Law " and it makes it illegal for any person to throw rechargeable batteries in the trash." In USA Best Buy and The Home Depot were doing this as of 1-2 years ago. Haven't checked lately. Just be aware improper disposal can make trash trucks caught on fire from lithium-ion batteries. How often? 3 times in a month according to this article from last month https://arstechnica.com/gadgets/2022/12/recycling-firm-fined-after-tossed-batteries-cause-garbage-truck-fires/
  9. Let's share some stories of tactics we've used to get great range from the wireless gear you have used. I once was 5 stories up in a tiny building with windows on all 4 sides with a Lectrosonics UCR200 and my boom boom op was on the ground line of sight with a Lectro UM200 Tx. He was probably 3 football fields away and perfect range on 1/8 whip antennas! The shot was a binocular matte on a super telephoto shot. Sure I know if you put 2 Sharkfins on 10 foot tall mast you will get better range than 1/8 wavelength whip antennas While I've seen great walk tests with new digital wireless gear I'd like to hear some stories from the JWSound group. These days you can remote wireless receivers on the set with Dante back to the cart and mixer parked far away and range from Tx is not as important getting it back to the mixer. I wondered if I were to put a 2 Lectro 411a receivers on the top of say a 4 story building and run 2 XLRs down to street level if the range would improve greatly for 2 people on a walk and talk in urban heavy RF environment if not using Sharkfin or LPDA (log-periodic dipole array) antennas? Any stories of stuff you all have done with transmission?
  10. I like the initial question. I think there are a few sides to this for wireless units. The issue is if you are starting out then you have limited capital and cannot buy the best quality choose any make/models . Used wireless equipment that is only 10 years old is not going to be all of today's brands. So in a forum thread you have to ask it one way or both ways. Starting out today in 2022 (post 600Mhz FCC spectrum selloff and illegal in 2020) you really need to have the knowledge of wideband Tx and Rx and why NOT to just get say 2 wireless units used in Lectrosonics Block 19 or say Block 25 (illegal...yes except for that guard band yes yes...) Starting out in your career where you need to buy your entire sound kit (mixer, boom, mics, etc) do you go with Prosumer level like Sennheiser G4 units and buy just 4 and then move up once access to more capital? Or the other way this thread conversation is If I were to do it all again today [buying a wireless system from scratch and NOT owning any wireless hardware you MIGHT want to have compatible to use] but you had a large amount capital are you mostly doing narrative or docu, reality, network news, sports? If it is narrative having the ability to remote your receivers not just the sharkfin antennas may be the way to go. So receivers that have Dante may make sense. half rack semi-portable units like Lectrosonics DSQD fit that bill. compatible with older Digital Hybrid transmitters. You could buy used Tx to start and move up to digital Tx for new. I like the competition of the brands selling fully digital pro wireless units Audio Limited, Lectrosonics, Sennheiser, Shure, Sony, Zaxcom. Wisycom is NOT in that group. For remoting wireless receivers there is the idea of using a interface/converter box like a Ferrofish Pulse16 that could take analog inputs from any brand's receivers and go Dante down to the sound cart. You might be able to even get rackmount receivers but they have AC power requirements and that is an issue with generators. If you are really NOT doing narrative and using a soundcart for 50% of your work currently (and plan to for more of) you need fully portable receivers. Not a lot of research available but I read that Sennheiser Rx gets hot and is power hungry. I like that the Sony is 3rd generation digital. Audio LImited & Shure Axient sounds good but a couple small issues. build-quality of bodypack Tx is very important as they DO get dropped. plastic, aluminum? These days with higher track counts seeing the features like Superslot compatibility is a huge factor for many in the Sound Devices world. AES outputs on Rx and how you are getting them into your mixer come into play. Another major consideration is repair speed and customer service. a regional sound rental vendor making repairs or shipping to the brand mothership. Another consideration is in the type of work do you need to share a talent Tx with another soundie where you both have a compatible receiver? Lectrosonics in the same block has been pretty standard for broadcast TV type work for years. Another consideration is the type of connector for lavs to Tx and needing to rent more lavs. TA4F, TA5F, LEMO3pin , 1/8"screwon, and repairing/rewiring connectors. Another thought is would you be repurposing a Dual receiver to use as a broadcast quality L/R camera hop required in some types of work: sports ENG/Network News quick turnaround? Seeing more Tx products being released shows the support from a brand. The more Tx and Rx products being released means you have access to more tools with features. It also means seeing how much R&D brands are putting into wireless units. I haven't done ALL of the research I'd need to on the above but having access to rent a model you are considering to buy means limited brands. Many sound vendors don't carry all of the brands/models in their inventory. I've never seen a Sennheiser pro system in the field or Sony for that matter. Thanks Ironfilm for the Sony videos. I'd like to lean towards Shure Axient personally then Lectrosonics.
  11. "What is IRIG-B? The IRIG-B time code is used in military, government, power industry, and many other commercial and industrial applications to ensure precise time synchronization. " I know there was a timecode box with a kickstarter or indiegogo that was timecode.io or something for GPS UTP time autoset to SMPTE TC OUT that never made the product as was not funded. With cheap TCXO boxes like Diety and Tentacle perhaps we won't really see it in the field for film and TV. Has anyone worked with the Phantom VEO model cameras and used IRIG-B timecode instead of SMPTE? Was it fed from a GPS receiver at all? Even if shooting at 24fps not high speed? Phantom High Speed VEO & VEO4k Cameras can do: TC IN: Timecode Input can accept IRIG-B ande SMPTE standards TC Out: Normally an unmodulated (dc-shifted) IRIG-B (at RS-232 levels) which follows the internal time base of the camera. It is recommended not to process the TC-Out, since a processed signal may no longer represent a standard or accurate time code. unlike iXML data in the header of Poly WAV files which is just a stamp of SMPTE TC on the first frame IRIG has time code stamped to each frame, [IRIG format year/hour:minute:second:ns] The only gear I could see working with this is The company Masterclock makes The GMR1000 and GMR5000 master clocks can reference GPS, GNSS, time code, NEMA 0183, or frequency signals and generate IRIG-B0, IRIG-B1, IRIG-A, IRIG-E or SMPTE/EBU. They can also act as an NTP server, PTP grandmaster or frequency generator if your system requires multiple timing signals. GPS500 GPS TIME CODE GENERATOR The GPS500 is a precision IRIG-B time code generator. It receives reference time information from atomic clocks in GPS satellites, extracting timing reference from these signals, and generates time code synchronized to less than 10 microseconds of UTC (Universal Coordinated Time). If the GPS500 loses connection to GPS satellites, it reverts to an internal TCXO. The GPS500 generates IRIG-B in 1kHz modulated and un-modulated (pulse-width coded) format. The GPS500 also outputs: SMPTE, EBU:30, 25 or 24fps, PPS, NMEA, Kinemetrics/Truetime protocol, and date-encoded references (IRIG 1344 and SMPTE Leitch date format or 309M) If you did use IRIG-B how did you set it up and how was it used INSTEAD of SMPTE TC? What was the nature of using TC from GPS satellites?
  12. PCMsoundie

    SD A20 Nexus

    If you have the 2 or 3 Lectro DSQDs already there is a 1RU PoE device that will for the 833 for cart-based work: Sonifex AVN-AESIO8 8 AES3 Input, 8 AES3 Output Dante® Interface, PoE Powered by PoE. It is $2050. and the XL-AES is $200. so for $2250. you can have 16 channels of Dante remoted to you and able to use 10 channels feeding AES to 833. (1 on XLR and 4 on XL-AES) That could be 2 wireless booms and 8 wireless lavs. or for a slightly smaller 1/2 RU size footprint Sonifex AVN-DIO19 Dante to AES3 16 Channel I/O Converter on DB-25 connectors also PoE for $1910. + a DB-25 fanout cable to XLR If you ONLY have 1 DSQD and don't need anything more than 4 wireless channels you can just use a little Tascam AE-4D with PoE or DC in for $600. to feed remoted DSQD via Dante to 2 AES OUTPUTS to your XL-AES.
  13. PCMsoundie

    SD A20 Nexus

    8 channels with room to grow. I would guess this is real diversity digital. Well even though they offer plugins for 12 and 16 channels It says in the specs under Dante AoIP: Dante Audio-Over-IP 16 input/output channels those DB25 connectors MIC/LINE/AES OUT . Hmm If they made one AES in they they could have a AES 8input interface along with 8 channels receiver all remoted to Dante back to the cart. Hmm what about the idea of having remote mic preamps trim controlled by 8-series itself for not only film/TV sound mixers for dialogue but also remote music recordings could use it too. I wonder if they will do something similar or a different model that has mic pres? Sure you can something like a Ferrofish Pulse 16DX but that is strictly an interface to Dante. another rack unit and $2100.USD I also wonder how Lectrosonics is going to counter this release with the feature set... half rack, PoE powering with Dante?
  14. Hey Matt. As you and Mungo mentioned " steals low freq and makes the voice sounding more flat" One way I found it sounded better is not using so much HPF especially on male voice. so maybe 50Hz. On NS I rarely go over 4 or 5 setting... usually less and only using on MAIN MIX Bus. My ISOs are still clean and slightly more bassy than I'd usually do. Yes for projects you know there is only a video editor and they are barely making a mix including music is where this is gonna help the most [when no audio post production at all.] Those types of editors don't touch the audio really. You are lucky if they don't just have both the lav and boom up at full volume totally phasing in mono.
  15. Audinate says: "Digital audio requires synchronization for accurate playback of audio samples. Dante uses Precision Time Protocol (PTP version 1, IEEE 1588-2002) by default for time synchronization. This generates a few small packets, a few times per second. One clock leader is elected on a per subnet basis that sends multicast sync and follow up messages to all followers. Follower devices send delay requests back to the leader to determine network delay." Here is the update on that protocol: IEEE SA - IEEE 1588-2019 Gotham Sound did a Dante setup for multitrack audio for location sound in a Youtube Video and found that the PTP in Dante was still unreliable and they needed to use Wordclock for reliability over say 18 hours. For Digital audio the gold standard for staying in sync between multiple digital audio devices is wordclock. Sound Devices 688, 788, 833, 888, Scorpio models all offer wordclock. The 788, offers external clocking: via word clock or AES digital inputs. The 833, 888, Scorpio Sync Reference options: Word Clock, LTC In, AES 1,2] Being able to take the sync from an AES signal is supposed to a more modern way of external sync. You'd need to have a Grade 1 grade of AES11 for extreme accuracy. AES 11 for sync "Two grades of reference are specified: Grade 1, having a long-term frequency accuracy of 1 ppm (part per million), and Grade 2, having a long- term accuracy of 10 ppm. The Grade 2 signal conforms to the standard AES sample frequency recommendation for digital audio equipment (AES5-1984 2 ), and is intended for use within a single studio which has no immediate technical reason for greater accuracy, whereas Grade 1 is a tighter specification and is intended for the synchronization of complete studio centres (as well as single studios if required). Byte 4, bits 0 and 1 of the channel status data of the reference signal (see section 4.8) indicate the grade of reference in use (00 = default, 01 = Grade 1, 10 = Grade 2, 11 = reserved). It is also specified in this standard that the capture range of oscillators in devices designed to lock to external synchronizing signals should be 2 ppm for Grade 1 and 50 ppm for Grade 2. (Grade 1 reference equipment is only expected to lock to other Grade 1 references.)" Only a few manufacturer make/model has that. such as : Drawmer M-Clock Plus Master Clock Distributor [1 rackmount size unit requiring AC power] M-Clock Lite features an AES Grade 1 master clock generator, meaning that the generated clock has a long term frequency accuracy of +/- 1ppm. Master Clock Generator and Dual Sample Rate Converter with 10 Word Clock Outputs $1500. CAN $
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