Jump to content

Bash

Members
  • Content count

    786
  • Joined

  • Last visited

1 Follower

About Bash

  • Rank
    Hero Member
  • Birthday 01/01/1

Profile Information

  • Location
    London
  • Interested in Sound for Picture
    Yes
  • About
    still learning
  1. Delivering files from multiple recorders

    Regarding the ALE thing. Avid uses the BEXT chunk to derive track names. Only the first 8 track names will be in the BEXT chunk on account of size limitation. So - if you have poly files with more than 8 tracks, Avid will only load the first 8 track names. If you import an ALE file into Avid, it can find the rest of the track names. Yves-Marie Omnes and I have been 'working on' Avid to try and get them to use iXML, and they would then be able to import all the track names. Bourke - if I sent you some mono tracks from an Audio Ltd 1010 digitak radio mic transmitter - might you have a look at them please? They dont have proper start times, but I believe the TC value is written into the filename - would you be able to incorporate these into a poly merge with other files? Many thanks, Simon B
  2. NEW SMWB and SMDWB Lectrosonic units Announced..

    I think to be strictly accurate... Zaxcom has a patent on a 'virtual multitrack' system, but I dont want to hijack this thread...... sb
  3. Neumann RSM 191 Matrix box needed?

    Wow - so my grey matter still works then ;-)
  4. Neumann RSM 191 Matrix box needed?

    Now.... if I remember correctly....... There are two issues. The first is the powering of the capsules in the mic, which has been dealt with partly above...... The second is the business of the capsules within the mic. I seem to remember that the 'S' capsule, the figure of 8 capsule... is not one capsule at all, but is in fact two capsules, back to back. This would then explain the 7 pin cable between the matrix box and the mic, 3 sets of 2 wires, 1 set for each capsule in the mic, and an overall earth/shield. I could be wrong about this, but I am rapidly convincing myself that I am correct. If the above is correct then you would not, easily, be able to power the mic capsules directly from the mixer/recorder and decode within the same. Kindest, Simon B
  5. Production Mix Structure

    Brilliant advice Crew. I have been both the dumb shit, and the fuck up. I much prefer the former ;-) James - watch out for end boards - make especially sure that you are running when it is and end slate ;-) sb
  6. We are just about to post the last few videos from IBC 2017. we just uploaded a few more, including Lectro, Sony Digital Radio Mics, Ambient, and more...... Enjoy..... sb
  7. NEW: Audio Ltd - DDX1010

    The audio path of the TX needs to 'hear' timecode when it is in jam mode, so... you can make up a jam cable from your TC Op to the 3 pin mic plug connector for the A10 Tx, or you can play TC through your headphones and put the Tx mic near them. That said - I believe that the RTC now fitted holds TC for circa 2 days with no batteries in the Tx (super capacitor I guess). I am not sure of the accuracy of this though. sb
  8. NEW: Audio Ltd - DDX1010

    It is typical of regular Bluetooth range. I would say circa 10-20 feet when in a room, and a bit less outside. You just need to be 'near' an actor or whoever to make it work. sb
  9. This year's videos from IBC in Amsterdam are uploading now. They can be found here...... https://vimeopro.com/ipstv/ips-tv-at-ibc-2017
  10. How about SADiE, at www.sadie.com. The MTR (multi track recorder) version is one of their cheapest, and it is as solid as you could ever get? sb
  11. murky dialog -- Noah Timan

    But what is 'their' standard? Is it the Dolby standard? sb
  12. Recording applause in Germany - Advice

    3 pairs.... 1st pair, spaced, omni - low and quite near the front row - they get they crisp, cracky, start of each round (of applause). 2nd pair. cardioid, or similar, probably wider, looking at middle of room -these will be key. 3rd pair, maybe more gunny - higher, looking at back of room - lovely 'body'. If you have the money, and if they want surround... omni, set up probably hung above the rear of the hall, well spaced. They get the later, more surroundy stuff. Good audience makes the gig ;-)
  13. Cedar DNS 2 Portable NR unit

    I find that I cant mix whilst listening to the Cedar track, I would rather work with the dirty stuff, and flick across to the Cedar to amaze myself ;-) sb
  14. Running the Set

    I was having a similar convo with a producer some years back. as we were discussing I took the boom off my cart, extended it, and handed it to the producer. I was still talking so motioned to him to hold the pole up and I continued talking as I walked to stand under the mic. I don't think I got beyond about the third sentence when the producer interrupted me and simply said 'point taken, call your man now'. Generally they have absolutely no idea at all. I have also done lectures and talks at shows where I have set up a boom and given it to a production type in the audience to hold over me. Usually they can't even make 30 seconds before giving up much the amusement of the rest of the audience. At that point I have explained that 30secs is quite often less than the time it takes for the unit to get quiet, turn over, and get the clapper board on. They have not even made it as far as the word action!! Kindest, sb
  15. Cedar DNS 2 Portable NR unit

    I generally run 1 x mono mix track for editorial to work with, but keep a second available for those times when A and B camera are looking at different things. Iroute my 1(2) mix trax to the Cedar, and deliver as trax 1(and sometimes 2). I record clean mix trax to 3(and sometimes 4). I do not send the Cedar track to the headphones and all the people listening, I dont want them to think that anything I am recording is any 'better' than what they are hearing on the set/in the room. If editorial like the Cedar version then they can choose to use it. They all have Cedar or similar in post so they can do a better job than I can on set. Have fun, sb
×