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Ed Denton

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Everything posted by Ed Denton

  1. That's the right idea, I was just hoping to find something that I didn't have to get custom cut foam for, as putting a mic straight in that will crush the windscreen and won't protect the mic. But the size is good.
  2. Does anyone know of a small mic case that could fit a small diaphragm condenser mic with a windscreen (such as Schoeps W5D) attached. I have a Pelican case that I keep a number of mics in but I would like to find a small alternative for carrying single mics when travelling light. I have a number of SDC mics like Octava and Audix model that I'd like to be able to bring individually with out dragging along a whole Pelican of mics. Something around the 5"x4" internal dimensions mark. Everything I can find is either too big, not protective or crushes the windscreen. Any suggestions would be most helpful!
  3. Appreciate the heads up there. I'll try and work with the information you provided Gordon and see if I can find a happy medium with transmitter adjustment and drive the clicks into the noise floor. Cheers Sent from my iPhone using Tapatalk
  4. I am a few days away from the end of a month long feature shoot that I've been using a Zoom F8 as my main recorder on and I wanted to share my experience with it, a kind of review if you will. I used the recorder as I believe it is best used and that is as a standalone recorder and I had a 552 mixer in front. I did not use any of the mixer or pan or output functions and my review will not include them. Overall the the F8 has performed very well. I never had any unexpected issues, power outages, lost or corrupted files, timecode issues or anything that really caused me problems so well done Zoom on creating a extremely high functioning product. There are however a number of things that I will mention that could be improved with the machine. I will refrain from mentioning any hardware functionality or build quality as I realised this is where you find the discrepancy between a $4000+ recorder and a $1000 recorder. But there are a number of software changes that I would recommend for the next firmware update based on my 25 straight days of using the F8. Firstly monitor modes. This is a big one. There is only one headphone monitor mode and it is buried in the menu screen requiring a number of clicks and scrolls to get there. Once you're finally in the headphone menu you need to click and scroll through the matrix to select which channel go to your L and R and it is certainly not a quick process. I would love to be able to save a few different preset monitor modes to quickly swap. For example I would often have my boom in the left and 2 wireless in the right but often I'd want to hear just the wireless in each ear or a mono mix of the wireless to compare relative levels. There was no quick and easy way of doing this. I would highly recommend shortcut to monitor modes or even better being able to flip through monitor modes without leaving the main recording screen. For example press+turn of Select Encoder currently does not have a function. That would be a great way to access saved monitor modes. This brings me to my next main issue; shortcuts. In particular clearing the peak indicator which requires you to press stop+5 buttons. There's no way I want to press the stop button during a take but often an enthusiastic clapper would smack the slate and cause my channels to clip at the beginning of a take. Now I'm stuck with the peak indicator for the whole take and there's no way to know if I have an actual peak during the take. A very bad decision for a shortcut. Something more simple like just pressing the Select Encoder or even just pressing the 5 button would work (seeing as you can't unselect a track whilst recording anyway). Another front panel shortcut I'd love is to go directly to Edit Meta Data of the last recorded take. That way you can quickly add notes or make any corrections quickly before the next take. Another thing that I didn't like was the use the Record button as the "Option" and "Execute" button whilst in the menu. The record button is the most important in the whole machine, I want the record button to do one thing and one thing only and that is to record when it is pressed, whenever it is pressed. I would much prefer that the select encoder or the play button be used as the "Option" have the record button to start recording even when in the menu. That extra second or two that it takes to exit the menu to start recording could cause you to miss a clap or something else that happens quickly or unexpectedly. All these things (to my knowledge) are firmware fixes and from my experience they would greatly improve the functionality of the F8. There are however a number of really clever inclusions on the F8 that I wasn't expecting. The Dual Channel Rec is awesome. Saved my butt on a few scenes that went from a whisper to a scream. I set the second channel at a lower gain and was able to capture both the whisper and the scream at good levels. The meta data entry and ability to create sound reports is great. I used the Bluetooth control just to try it out and it seemed solid but I was working out of a bag so I pretty much entered into directly via the LCD screen. The track name and scene name shortcuts are extremely useful. But I can't emphasise how useful a monitor mode shortcut would be. I said I would refrain from reviewing the build quality compared to other more expensive recorders but just for the sake of sharing my experience I will mention some aspects built quality. The nice blue paint had chips and scratches with in the first few days of shooting, it is not at all a durable finish. Also after 3 weeks of shooting the white square on the Stop button and the red circle on the Record button are nearly worn off (see pics). I imagine by the end of the year none of the button will have their corresponding symbols. But as long as they continue to work I can live with it. The plastic buttons feel and look a little cheap but again at the price point I can live with it. But some things for Zoom to consider changing on version 2.0. But overall I would say it's been a very positive experience and I would highly recommend it as an entry in multitrack recording especially for someone who already owns a 442 or 552. Ed Denton mooseaudio.com.au Sent from my iPhone using Tapatalk
  5. Why should no camera be running true 24fps? Perhaps this is a US thing. We shoot true 24fps all the time in Aus.
  6. Thanks for your response Gordon that was good info for me. However I am convinced that what I'm experiencing is not normal operation. I'm using a red dot cos11 but the gain is up around the 3 o'clock position on the UM400a, well within what I would consider an acceptable range and it should be able to tolerate the dynamic range that I am giving it. I really dislike the sound of the limiters engaging. For me they are a fail-safe for unexpected yells, not something that I would allow in general recording. Furthermore is doesn't happen in ratio mode or when I have the same setup with my UCR411a's. Think perhaps it is a faulty unit and I'll contact Lectro directly I think. Sent from my iPhone using Tapatalk
  7. Yes channel 2 set higher than channel 1 and followed the Lectrosonics scanning procedure. Sent from my iPhone using Tapatalk
  8. The dialogue ranges from quiet talking to yelling in the one scene so there was quite a large range but at its loudest part it was just engaging the limiters. I'm fairly confident it is not a transmitter problem as I could see that the clicking sound was happening as the diversity phase indicator on the SRb screen was flipping. Regardless, I did some more tests to see. The problem did not happen when I put the Divmode to "ratio". However the problem still persists when I have a second transmitter on and use it in dual receiver (switched) mode. Also I tried using a different transmitter and the problem still persists. This is a fairly new SRb (less than 2 years old) bought new from reputable dealer in Australia. Sent from my iPhone using Tapatalk
  9. I could see the little triangular diversity indicator flipping up and down as it made the clicking noise which is how I narrowed the issue down to the receiver. The transmitter gain was in the usual range for speaking voice. Sent from my iPhone using Tapatalk
  10. I've been having a problem with my SRb making a clicking sound in the audio when switching antennas. I've included a sample recording of the sound as I heard it through my 552. I realise that it is the sound of the antennas switching due to inadequate range or other interference. My question isn't how to solve these problems but I'm wondering whether this is a known problem and whether there is something I can to do fix it or whether it is a software or hardware issue that need to be repaired. Given that it is a diversity receiver designed to switch antennas for the best signal I can only assume the sound of the antennas switching is not normal. To help diagnose, my set up was this: In a bag there is 2 UCR411a's and a SRb into a 552 with direct outs to Zoom F8 XLR inputs and also a boom running through the 552 into the Zoom. Also a Senn G3 tx in the bag sending scratch to camera. I had two SMDa's transmitting to the 411a's and one UM400a transmitting to channel 1 of the SRb, the other channel was not in use. Again, my question is not how do I get better range from my transmitters but can I/how do I avoid the clicking sound coming from my SRb. Thanks in advance, Ed Antenna switching sound.aif
  11. Slightly off topic but perhaps not worthy of its own thread, when using the G3 as talkback/ifb how are you getting headphone level? Using a headphone amp?
  12. Absolutely. I definitely don't like the idea of using TRS jacks in a professional application. They are far more flimsy and prone to breakage than XLR. Pressure on the side can cause them to bend, break or lose contact which can ruin a take and the equipment. Especially in a bag setup where there is often strain on the cables. I've had to replace the 1/4" jacks on nearly all my bag headphones. So yes, it would be potentially prevent me from using this machine.
  13. This looks like an amazing little machine and by all accounts sounds very good too. The issue of no mixing interface to me seems null - it is a recorder, not a mixer. In fact it seems like a great bonus feature that you have iOS Bluetooth mixing capabilities, something that other more pricey recorders such as the 744T don't have. Also the digital limiters and HPF don't worry me much as I would be putting a mixer such as my 552 in front of it which deals with any front end filtering and input limiting. My one concern is what The Immoral Mr Teas mentioned above, that the line input are only on the TRS input. If outputting from my 552 direct outs to the F8 inputs at line level (as I would to a 744T for example) I certainly would prefer to be able to plug into the XLRs. This would almost be a deal breaker for me.
  14. Amazing! Thanks Eric, succinct and very helpful. I wish everyone on this forum would give answers like this :).
  15. I have a K-Tek KE-79 and I want to internally coil cable it. I have bought the threaded XLR to fit in the base of the pole (Switchcraft part B3MAUH) but I'm wondering when install it, what kind of strain relief should I have where the internal cable joins the XLR connector? I imagine that when the boom is extended with the spring-like coiled cable it would put quite a bit of strain on the solder joints. I was thinking of putting a piece of plastic tubing around the terminals and fill it with epoxy to hold the cable in place. However this means the connector is no longer serviceable. Would you recommend using something softer that is removable such as silicone or hot-melt glue so I can pull it out if I need to get to the terminals again? This would obviously less sturdy though. What strain relief do they use in the K-Tek KE-79CC?
  16. Hi there, I am doing a job in Canada (specifically Montreal, Quebec) and I am wondering what tax information I need to put on the invoice. I am Australian and my business is registered in Australia but I have a Work Permit (Case type: 20) for Canada. I saw that invoices in Canada are meant to include GST number and in some cases HST and PST; In Quebec I believe it is GST and PST. Does anyone know what I should put on the invoice in my case. Much appreciated in advance, Ed
  17. One of my SMDAs is out of action so I was hoping to use my Sennheiser Evolution G3 TX with my UCR411a but none of the Lectro compatibility modes sound particularly good with G3 in my opinion. The background noise floor has lots of companding artifacts. I think I'm better off just using the G3 receiver (in terms of sound, not range).
  18. MIKE: " and they said... ?? " Haven't heard directly from Lectro except Dean answer above. Many thanks Dean for your response, I was really hoping something like that would solve the problem. I've cleaned it and it is still showing the same symptoms. Local distributor John Barry Group said to send it to their service department so... " take their advice... " I guess I will have to. But really not looking forward to it. There is only one place in Australia that services and repairs Lectro (that I know about - Elino at JBG) and wait time is generally 4 weeks just to get him to look at it. Add in shipping and work time, and sometimes wait times for parts and your looking at 6 weeks for it to be out of action. That's potentially $3000 in hire lost. We are so starved for options here in Australia!
  19. +1 for epoxy. It'll be stronger than before you broke it. That stuff is amazing!
  20. Yes the noise decreases as the input level is decreased.
  21. Hi all, I've been having an issue with one of my SMDAs (SN 648) It has a very high noise floor. I've compared it to another identical SMDA on the same channel and also on a different receiver and I have identified that it is definitely an issue in the transmitter not a RF intermodulation, or receiver issue. The white noise is there regardless of whether a lav is plugged in or not. It doesn't 'pump' with the audio but is rather a constant noise floor that is much higher than normal. The problem has only appeared recently. Any ideas from the brains trust? P.S. Before I get replies from the 'smart' members of this forum: Yes, I've contacted the manufacturer. Yes, I've contacted my local distributor. Yes, I've read the manual. Yes, I've searched for other threads concerning this issue. I'm hoping for an opinion from the rest of the sound community, not a lecture on how to use the internet. Muchos gracias.
  22. I absolutely love my TL-40s! I have been using them almost exclusively on ENG/lifestyle shoots where the location conditions are make it almost impossible to distinguish from more expensive lavs. When I'm doing more scripted tv or film work where I'm working with a costume department I'd tend towards the Cos-11s but in fast-paced ENG/lifestyle/reality where inexperienced talent (non-actors) are constantly ripping mics off I've found them to be extremely durable and sound great. I just bought another two in white today actually. I've found them great to hide in shirt behind the button because of their tiny capsule. Just poke it through the button hole and tape it so it sits just behind the button. Works a treat. Also pinned 3 into 3 actors' hair last week - scene of an actor starting clothed in a sauna and progressively getting undressed to fully naked while delivering lines. Did I mention it was a tiny sauna lit from every conceivable angle? Should've seen my face when the director told me!
  23. From what you have described I think I have had the same problem with my new block 26 SRb. I was using it as a camera link with a pair of UM400a TXs. At one point (luckily between rolls) I noticed there was nothing happening on the camera level meters. I looked at the SRb and it showed both channels at full modulation with limiters engaged. I.e. It looked like I was sending tone at a very high to the SRb but nothing was flowing through to the output. The UM400a TXs appeared to be modulating normally from what I could tell from the level indicator LEDs. I power cycled the SRb and it worked correctly after that. I was powering from the cameras v-lock d-tap if that's relevant. Anyone else experienced this?
  24. Just for anyone having trouble understanding why they did it like this with REC-RUN in mind let me give you an example of my experience with ENG shooting and timecode transmission and why this system makes perfect sense to me. A lot of the TV work I do here involves a single broadcast camera running REC-RUN timecode. Whenever I connect to the camera via wireless link I always record a backup on my 552 recorder in case the link drops out (battery, RF interference, etc). Sometimes in the heat of a fast paced shoot the camera op may be buttoning on and off a lot, or just rolling without any warning. The Timecode Buddy TX on the camera paired with a Timecode Buddy in my bag set to RX mode running the 552's External Timecode Auto Record function allows me to never miss a camera roll. Also it makes it much easier for the post guys to sync the 552's timecode stamped files in FCP if the link does drop out and they need to use the backup audio. I think it is a fantastic system for this style of production and considering we only shoot about 10 big budget feature films a year in Australia, I think a lot of the other Aussie soundos who record TV over here will agree with me. Hats of to you TimeCode Systems! As others have mentioned there are other great options such as Denecke and Ambient for film/drama style timecode systems.
  25. Stupid question so apologies in advance but I'm about to solder on a SWIT d-tap connector but there is a little silver bracket and I can't for the life of me work out where it is meant to go in the d-tap connector assembly. Google searches for wiring/assembly diagrams yield nothing helpful. Much obliged if someone could help! See attached pic.
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