Bash

Buying and selling Bitcoin is simply speculating, like buying and selling Gold, or classic cars, or fine wine, or houses, or stocks. The idea, of course, is to buy cheap and sell high, so I wouldn't even consider buying BTC at $18k or anywhere near that amount. Mining for crypto currencies is a whole different ballgame. It is a very 'interesting' scenario, and at present it has potential to both make and lose quite significant amounts. Be warned though - the miner computers are super loud, and kick out a lot of heat, oh.. and they use a LOT of power. Regards to all, Simon B

i loved it - great soundtrack, and great sound recording. sb

http://www.orchid-electronics.co.uk/ British, solid, and most excellent. cheaper than radial in the UK, but not necessarily so in the USA!!...... sb

Sonosax SX-R4+ for this job for sure. mazing mic pres, fantastic headphone amp, and very soon to come A format to B format decoding within. It's a brilliant sounding machine...... sb

Mark was brought up into the business - his father was Douglas Milsome, who was a very well known operator and then DoP for Stanley Kubrick. Mark was just on the cusp of operator/DoP and was an absolutely delightful breath of fresh air to work with. Not a hint of attitude or self importance. He was quietly confident, and let his work speak for him. He was one of the most human and easy going people I have ever met and worked with, as described by someone yesterday, a real gentle gentleman. Everyone over here is stunned and shocked. I have heard no more details of what actually happened, other than a car stunt went tragically wrong. It really is very, very, sad. Simon B

But... at least with modern reality you are dealing with modern clothing, which tends to make for less game ending situations than period costumes (especially if wardrobe insist on old fabrics). My pet hate atm is circa 1900 men's shirts - the ones with a kind of cardboard collar and bib arrangement at the front. It is basically a sheet of creaky cardboard in the exact spot where you want to put a lav mic. Happy days.... sb

It shouldn't really be a problem. sb A second will still last a second, so - even if the sync point is nearly at the end of a second... the maximum error should be only a frame at te point of sync. You should be fine.... sb

Be aware that on a Zoom F8, with the latest software, you can record A format on 4 tracks, and B format on the other 4. Likewise on the Sonosax SX-R4+ (it is coming very, very, soon). The B format conversion occurs within the machine at the time of recording. just saying....... Laters..... sb

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

I think to be strictly accurate... Zaxcom has a patent on a 'virtual multitrack' system, but I dont want to hijack this thread...... sb

Wow - so my grey matter still works then ;-)

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

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

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

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

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

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

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

But what is 'their' standard? Is it the Dolby standard? sb

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 ;-)

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

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

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

If you want posh then try Case Design, who can make you a custom metal case with beautifully cut foam indside. If you want cheaper then shop around online for a Peli or Peli Storm, try the Waterprrof Case Company. If you want cheap then look at Trifibre.co.uk Good luck, sb

Hi Patrick, and your points are interesting, but....most all Red cameras have been 'quirky' to the point of unuseable for most sound recording applications. Think 5+ minute takes, on quiet sets, with actors whispering, and camera close to the actors. This is the real test. The Helium (as tested in London by a colleague of mine in the last few days) is significantly louder, AND the menu modes ('quiet', vs 'adaptive preview quiet mode' or whatever it is called) are reversed, so the one that ought to be most quiet is not so. This is ridiculous. Red cameras have loud fans, period. I am aware of your fanplate for earlier Reds - i have to say that I heard that in some situations your fanplate was louder than the regular camera. I have absolutely no axe to grind with you personally, but that is what I read and understood. More important - why are we making custom built stuff to cover for inadequacies of Red cameras.... because they are unacceptably loud as sold. Red camera have loud fans. End of. It may well be that they have worked so hard to make the camera small and modular that they have made a loud camera. May I ask - who uses a Red camera as 'small' - they are always covered in extra bits. All the bits that were not included by making them so small. I am really sorry, but so far as I am concerned Red cameras, which might or might not make pretty pictures, should be used for car adverts and beauty shots. Someone had to say this. Simon B