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Posts posted by VAS

  1. Steinberg & Rupert Neve


    Steinberg team up with Rupert Neve – two new interfaces – UR-RT2 and UR-RT4, will be shipping from the beginning of June. “I’m very glad that we can work together with Steinberg. We are proud that we've helped move this type of sound quality and character into a new market and audience,” said Josh Thomas, general manager at Rupert Neve.


    The UR-RT2 comes with four inputs and two outputs, while the UR-RT4 boasts six inputs and four outputs. Both interfaces offer USB 2.0 and MIDI connectivity alongside a range of input/output options for laptop and iPad, as well as providing DSP-powered effects for zero- latency monitoring. Together with the studio-grade D-PRE preamps by Yamaha and the featured Rupert Neve Designs transformers.



  2. 4 hours ago, Alejandro Reyes said:

    Perfect answer, as it stands I already made my decision in buying Viviana for now. I will however get some URSA's as well later on down the road. But for now, we're gonna give Viviana's a try. 


    That sounds great, I would love to hear your opinion and comparison of both. All I have to say is that NeoPax needs to up their game because the current straps get wet and slides off very easily. Plus they need at to least have an additional pouch for excess wires. 

    David that's great to know I'll be sure to purchase some safety pins. Speaking of which URSA has these single pouches where you can hide them on talent. It requires using a safety pin on the waist of the back of the pants, this is especially great for male actors of larger frames. Probably something to consider I believe they run for 15 dollars US but I'm not certain, I know Gotham Sound has and Chicago very own Second City Sound has them.


    Hi Alejandro,


    I own four Viviana Straps, but I will buy some URSA later.

    I didn't had the change to wash Viviana Straps so far, to tell you my opinion.

  3. New Firmware

    Version 3.3


    • Fixed DC OUT button, was enabled even in the BATTERY and EXT DC tabs
    • Fixed metadata note edition: possible device freeze when note length is >32 chars
    • Fixed metadata in playback: wasn’t possible to remove false start status
    • Fixed metadata scene modification: take number was not always updated correctly
    • Fixed empty project: ‘UNNAMED’ folder could be created multiple times
    • Fixed track name edit: system instability when modifying the track name or color while recording
    • Modified WAV filename: replaced space with underscore chars (between filetag, scene and take)



  4. On 3/17/2018 at 6:01 AM, cox2046 said:

    For recorder, here  most people are using SD, i find one using Zaxcom, none Aaton and Sanosax. Kind of knowing why no one use Aaton on local market. is there anyone can have some insight?




    Maybe Hong Kong isn't a market for 134,290 HKD recorder.

    Same can be said for here (GR).

  5. Draw a line. Say to the production - it's ok to not rent my gear, but you have to rent A recorder, A wireless, A accessories bla bla (aka your "gear" from different provider). Because you are familiar with that kit, because you produce X quality with that gear and because the project require that gear. At the final stage, you can negotiate the price between your kit and X provider.


    Always bring your headphones.

  6. I did a commercial yesterday with ARRI Alexa Mini.

    ARRI Alexa Mini Firmware: 5.2.17

    Sound Devices 633 (latest firmware)

    Free Run

    25 FPS


    At 08.00 morning we did a jam sync from 633 to Mini (REGEN).

    After 35 minutes running (with REGEN setting), timecode decided to started from, again.

    We decided to change from REGEN to PRESET (after jamming).


    The good thing about the new firmware (5.2.17) is:


    - From 100 FPS to 25 FPS there was no freezing (like older firmware). After FPS change, timecode was the same as 633.


    - Break 30 minutes; camera off. After break time, timecode was there like 633 (ok, good camera internal battery).


    Note: Project Frame Rate and Timecode Frame Rate must be the same (into camera).

  7. I would buy sooner or later the MixPre-3.

    One boom - Two wireless - EXT Timecode.

    90% of my jobs is one - two wireless and one boom.

    For the needs of atmos bla bla I have three mic preamps / ORTF TRI (three CCM's or MKH 8040).

    Plus Wingman App if I need to go fancy and sexy (hehe).

    For 4 wireless and more needs; then I would consider the F8 or something else.

  8. 8 minutes ago, Michael Miramontes said:

    Well could you?


    Director wanted from me to record a slow motion audio.

    What can I answer to that? Tell me. Hahaha

    3 hours ago, Christian Spaeth said:

    Here's a recent one. TV commercial, VOs with an actor were done at a hotel room after wrap. Got an email from the agency via producer a few days later:


    "The speech recordings from the hotel room are mono, not stereo! How can this be?"


    Do you have some funny agency folk stories to share?


    How many times, Christian. How many times...

  9. Today, I have experienced a nightmare in a cooking show.

    Wireless & Induction Kitchen


    Some sort info's: Wireless was Sennheiser G3 (626 MHz - 688 MHz) and G2 (780 MHz - 822 MHz). Lavaliers was DPA 4061. I know, 780 MHz - 822 MHz isn't very good here; but usable. The kitchen was without any extra furniture, so the whole system (below glass surface) was expsosed (not visible to camera of course).


    When the chef was turned on the kitchen for cooking; wireless went crazy, both of them. The sound was something like huge noise gate, plus extreme denoise, plus extreme compression. Like RF swallow into black hole (use your imagination).


    I did everything from my side; changing frequencies, changing lavaliers, changing everything with all combinations. Same story: No bueno.


    Booming was not possible; yes you thinked correctly, extremely wide shoot (master camera) plus exterior (45 meters away was passing a train every 4 minutes). So everyone went crazy because of "sound problem", the kitchen nightmare; not the train nightmare. I have asked a simple question, if we had that kitchen from previous season. Guess, the answer was "no". And the story goes crazy.


    Next time, cooking show, I will ask what type of kitchen will be. After "where", "when" (and why in my inner thoughts).

  10. 22 minutes ago, Christian Spaeth said:

    I find it totally overkill and a bit ridiculous to put a Schoeps M/S set or similar on a camera. You will hear all the noises you make pulling focus or pressing buttons etc. The reason why your cheap mic sounded good to you might be because it's less sensitive, has less high frequencies and probably also less low end which will result in less rumble. If you have too much money, instead of putting two Schoeps mics on your Panasonic cam maybe you could try working with a professional sound mixer. You will be surprised of the "next level" sound you will get this way.

    The sounds you will be able to use from a camera mic is usually some atmo, maybe some sounds from when you're close to a sound source. These sounds in my experience will be totally fine with any inexpensive camera mic like the Sennheiser and Rode cam mount mics. Schoeps pick up way too much for to be mounted on cams.