daniel

a previous thread:

I'm definitely not the tweaky post type of guy either - it seems to involve having very expensive monitors for 1 thing and a patience for staring at screens beyond where I'm at. I guess if there was 1 complaint about the A7S it would be the out of camera 'skin' tones compared to canon/nikon but this is a subjective thing, a bit like the conversations people used to have about kodak and fuji stock. I also think there is a lot of over graded stuff out there, but then sometimes I quite the look of some of the 'flatter' profiles with just a bit of adjustment in camera.

Hi Tom, I'm really enjoying my A7S and checking your posts out (nice photos btw) I see you have nice looking eye cup - what brand/model is it? The other question I have for any A7S shooters is about grading (video), any recommendations? I'm using FCPX (despite its detractors) - I like the paradigm and pasting attributes is handy, but there are so many plugins etc available any pointers appreciated. Other than a varied assortment of glass, I use an Edlekrone flextilt head as intended but also as for hand holding. For reference audio I've rigged an okm binaural set onto the outside of a pair of hd25s with a bit of wind protection. They're not so bad, but the usual caveats apply for binaural set-ups. Kind Regards, dr.

Don't you have to carry a spare of whatever is used to patch RX O/P to an I/P, even if the RX has an XLR O/P?

Thanks Glen. I realise I should have been more precise with my last question: Are their significant differences in how typical aes42 compliant recorders (Eg. Zaxcom/SD/Nagra/Sonosax) handle the remote control of a digital mic's dsp? Very interesting to read that an aes42 mode2 microphone like the 8060 + mzd8000 can be set-up from a computer - have you developed any ingenious dsp settings into a location sound workflow? I believe Rado has an all digital workflow(?) so I guess there are others who perceive a distinct cost-benefit (?). dr.

Hi Glen, In practical terms with doc and eng work, what are the differences between mkh8060 and 60 in handling noise? The 60 has the HPF so perhaps the 8060 needs to be considered with and without the filter module or similar. And if used with a digital O/P module how does the remote control of the HPF compare to the 60? Are their differences in how the typical machines handle this Eg. Zaxcom, SD? kind regards, dr.

there are also these: https://www.microframecorp.com/products/other-products/smpte-video-time-code/d8009-time-code-sync-master-mini

Indeed not, it looks gorgeously sleek. Are those strain glands on flying leads and not some new fangley connectors? If you had 2 in the bag, side by side, without separation, would the cables on the RH unit have to bend quite hard to clear the the LH unit? Would this O/P module be compatible with other slot in RM systems?

Like wise re the dsub, 1 of the rental houses said they could make me something like this. I had a demo unit of the DWX from cvp and was very impressed - the only reason I didn't go for it was in the end was I only needed 2 channels and wanted 2 separate receivers (which is a problem for a system that only has dual receivers) - if I had needed 4 channels I think I would have bought them. I remember seeing a prototype box (by VMI perhaps) that would take 2 of the RX units (4 channels) and looked a good way to go for a bag based op wanting to run this system. I imagine there will be a trickle down of the DWX system in the used market from camera ops and rental houses for which the portable system seems to be marketed. The Sennheiser ek 6042 looks like it could be a smart way to go for ops transitioning from analogue to digital and slot in as well. It wont have TX recording though, only 2 of those available in the UK market (and just 1 in USA).

Not only has the DWX system been around for a while (the current units are second generation) - 1 could claim it is the only 2 channel digital slot in receiver - but only on Sony cameras.

Hi Chrisy, no need to apologise, I did read the earlier posts. And I know what a media scrum can be like, probably you're client does too. Are they expecting feature film grade boom (perfectly cued, full frequency from a sound stage)? Is the audio going to a re-mixer to tweak the EQs before broadcast? In the context you present (the "media scrum"), if you use a mic that is sensitive to handling noise you're going to have to roll it off somewhere, ideally as as near to the front as you can (and assume no tweaking by editor later). Something like a TAC!T cable seems like a cheap and effective way to go. A better suspension like a Cinela suspension and wind basket may make a difference, but even if you owned 1, do you really want to swing 1 around in a media scrum? And that's assuming it performs any better when it or the pole gets bashed. And if it doesn't, then what? You've clearly got great ears and I hope you're client is booking you to do other things as well. Also Rycote do a workshop/get together thing and are always open for feedback so let them know etc. I know you've not said you need a better suspension because you don't want to use an HPF on your red carpet gig but that seems to be implied (sorry if I got his wrong :-). Other than that what else can you do? I don't imagine you're using a 8060 without a carbon pole or leaving knuckles and joints loose, so nothing to change there. I use a softy suspension and windgag for this sort of thing (unless it's raining or very windy) as it needs less babysitting, it's slightly smaller (so less likely to get knocked and less noisy when it is knocked) but the Sanken has an HPF and I don't mind using the HPF on the mixer/recorder if I need to for this sort of thing - I think the client is happy it's intelligible and wont wonder why the bass has gone for a cup of tea while I'm in the fray to grab speech in an a challenging news environment. Remember how this audio is going to be used. Something like 'VT' inserts into studio recorded program? 'Tinny' red carpet stuff sits with full tone presenter speech, trailers (with the bass turned up :-), junkets, phoned in reports etc - it will be part of an overall texture. Atb.

If only happens when you tap the pole... don't tap the pole. I'm not trying to be flip, I'm just saying, if the phenomena shows itself even when you're not tapping the pole, record and post and someone, I'm sure, will try to help. Perhaps cue the mic back and forth in a simulation of a real world scenario (with and without basket), is it there, is it damaging your recording? atb.

Chrisy, handling noise is handling noise, does it really matter if the characteristics are slightly different if the basket is on or off? Maybe another test where you're not tapping the pole? dr.

Chrisy, this is indeed a very nice comparison of how these mics sound - on a stand, in a domestic interior, at a fixed distance etc. I guess an obviously challenging BG reference like pink/white/grey/brown noise, drum machine or tone at various angles to the mics axes(?) might help determine which mic to go for when we are confronted with some of the more ugly audio environments with which we often have to contend. The testing possibilities are endless though.

Zoom probably don't test "to the same degree" as SD but all recorders can have issues and an operator can have 2 Zooms and still have enough money to buy redundancy for other kit elements (so when they fall face first into a big puddle the show has a better chance of still rolling :-). Further, in this day and age, what is the point of a 744 (without a mixer up front weighing you down, using up batteries and giving you something else to worry about). Ie. why would someone not consider the 633 as the most logical alternative to a Zoom F8 (or visa versa).

A noisy environment is a noisy environment - there are no magic bullets but a few more thoughts: The "honk" you describe is probably there to help the 8060 a 'grab' a bit more (like a 416) especially when in a basket and windjammer - I can imagine this is actually an advantage on a red carpet. The HPF on the 60 is optional and certainly useful to have. Personally felt a bit dubious about the lack of a meaningful Low Cut option on the 8000 series for documentary/factual/ENG work, hence the recommendation for a TAC!T cable. As much I miss the 60 which I sold to buy a CS3e, for the work I do, I know it was the right decision. Although the Sanken has more self noise I don't find it meaningful, but the advantages of the mic are. Eg. best in class isolation/directionality, not as unforgiving on interiors and no bass tip (so if the frame or the director allows you can get it right in there).

Yeah, i was not conn-vinced either :-), for a number of reasons, so never bought 1.

Future anthropologists will have fun developing theories of about our societies based on discovering a lake somewhere in north western europe with some strange plastic artefacts embedded in the sediment.

Turning the mic in the mount a little will put a slight twist into the header cable and effectively reduce how far the loop reaches back so it doesn't touch basket. This is 1 of the reasons I prefer a very light header cable with a low-profile right-angle XLR plugged into the mic - still have to be careful how the cable loops but it seems to be easier as well as allow more room at the business end of the mic. An LP RA, XLR is used by Cinela (and DPA's now defunct WINDPAC) in their suspensions and baskets - Rycote seems to prefer a full 180 degree loop instead of the 90 you get with a RA XLR, which I think is a shame because they would be prime candidates to bring an affordable LP RA XLR to market imho. dr

Chrisy, I now use a super-shield (which is great btw) but from what I remember of the modular system there are usually several holes the tightening screws can be put in (depending which 1 you have). I can't work out from the photo if you have the medium suspension but if you do it should have at least another hole for the tightening screws - I would try it with these screws spaced as far apart as possible. Aside from that, you'll always get more handling noise between takes as you wont be trying as hard and compared to the MKH60 almost any mic will feel more sensitive to handling - the MKH60 (imho) has fantastic characteristics in this respect as well as reach. For what you're doing I think a TAC!T cable would also really help you out as the 8060 doesn't have a bass cut (or high pass) option. dr

A nagra viii (8), something like the track count of the nagra 6, in a box the size of the nagra 7. The vi was released in 2008 and doesn't seem to be listed as current on the nagra website - not necessarily auspicious but who knows :-)

my understanding is: pots will we able to fade mix levels (without effecting pre fade isos) - currently its more like SD 7 series.

Hello Monsieure Sax, Does R4+ have the fader function yet? dr.

http://www.audiomediainternational.com/business/richmond-film-services-relocating-after-30-years/05147 http://www.richmondfilmservices.co.uk/ I've just read RFS are relocating to Shepperton Studios. RFS is wonderful place known to all UK sound people. I am sure the business reasons add up but I am a little saddened to hear this for purely selfish reasons - Richmond is a lot easier to get to from Hackney than Shepperton :-( which is pain in anything but a car). dr

The questions about service departments, rush services, loaner-rentals, and even rental houses seem mostly academic given the cost of the F8 is so relatively low that a professional user could afford to buy 2 or 3 or these recorders for a similar price of a single pro RM or a boom, mic and rig, etc. Or to put it another way, as a professional, is it better to own 1 'pro' recorder (which may still have issues) or 2-3 of these recorders (aside from the fact the recorder is so small that to carry a spare would also be easier)? In terms of a production schedule, pulling a duplicate recorder out of case has considerable advantages over making phone calls to service departments (in different time zones), waiting for a rental house deliveries (in office hours) or even re configuring the rest of the kit for a different recorder. Myself, I am still undecided. On the occasions i need something better than what i own dr680/sd302/SQN, I hire a nagra vi (quite big and by todays prices, relatively expensive :). I would love to justify owning an R4+ but i think i would still need a back up and the size of the F8 is 1 of the big attractions for the type of work I do. Some of my clients want the brand names, other don't care and I think this has as much to do with the decision as anything else, Ie. getting the bookings. From a personal point of view (as i indicated in the kit wishes for 2016) a compact, singular analogue pre-amp and limiter would make the F8 a no brainer for me. But regarding the OP, why is it F8 vs 744 and not the 633?