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Everything posted by Bash

  1. 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
  2. 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
  3. 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
  4. 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
  5. 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
  6. murky dialog -- Noah Timan

    But what is 'their' standard? Is it the Dolby standard? sb
  7. 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 ;-)
  8. 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
  9. 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
  10. 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
  11. Field Recording Equipment Case

    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
  12. 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
  13. Dpa 4061 and double bass in beach

    How or why were you shocked? sb
  14. Rental Rates

    Although a canny line producer might manage to work out that the cost of a radio mic may be more than recouped over the entirety of a long production shoot, they will not be taking into account stuff like the risk, the maintenance, the love and care, the cables, the flight cases, the spares that you keep etc..... All of these add up, and in truth, they may well add 50-100% more to the apparent purchase price of the transmitter and receiver. Can you imagine saying to your line producer that although you 'require' only 6 radio mics, can you have two spare tx packs, and youd like lavs in black, white, and flesh colours, and you'd like 8 of each please, plus a spare OP loom, adaptor p[lates for when you go bag kit and pull the receivers from the rack, and spare aerials and aerial cables, blah blah..... If the production company 'own' the radio mics, then who will pay you to prep them, build them into your rig, clean them, care for them on the days off, guard them, etc.... Who will ensure that at the end of the shoot the tx packs are not put into storage with batteries left in them (cue next series, leaky batts in the packs). There is no incentive for you to 'love' the kit that is not yours. A more likely scenario, which I have seen happen (not to me - Iam not this lucky) is that a production might buy some specialist piece of kit (maybe comms kit) and at the end of the shoot the mixer 'buys' the kit from the show at a massively knocked down rate, like 25%. This has often been agreed before the kit is bought for the show. Also - would you want to be the guy that 'lumbers' the next mixer with not being able to charge for their own radio mics on the subsequent series. For all or any of the above reasons, and also that as you stated the kit is going to be paid for within the 6-7 months of the show, why would you NOT buy the kit, bank loan, credit card, borrow from your parents/children/boomswinger/whoever, and simply own the kit from the off. Enjoy your new kit ;-) Simon B
  15. RIP LOON

    Thankyou Jim for an enlightening post - I never knew that Don had so much fascinating history. Is there any chance at all that someone might take on the Loon Boompole designs and continue to make them? Thanks again, Simon B
  16. Audionomix? cleans up production dialog...

    There was a piece on BBC Radio 4 a few days ago about the latest state of speech synthesis. They had a computer that was doing a pretty passable job of synthesising Trump. Ift was not totally convincing, but if you added a bit of BG noise and made it as if through a phone it was pretty much indistinguishable from the real thing. One of the points that they made was that it is now close enough, that from now on no one should necessarily believe that anyone in particular has actually said anything, unless you are in the room and hear/see them say it ;-) Happy days..... Simon B Can you imagine the big studios being cool with the dialogue editor sending off lines from their not yet finished film for some online service to process? sb
  17. RIP LOON

    How very, very, sad. For all the Loon 'eccentricities', they made damned good product. About 2 years ago my Darling Emily and I made a fantastic vacation 'noodling' around the US in a hired car, About a week after we had left the area, I realised that we had literally driven within 500yds of their workshop. I so, so, wished that we had gone to visit........ RIP Don, sb
  18. 16-Channel Analogue to Dante Location Mixer

    I am pretty sure that as JW mentions, there is no mix engine in the PIX recorders. That will pretty much for certain scupper that idea. The concept of an external mixer/fader surface for a pix is a great idea, but what you are basically suggesting is something of the ilk of an Allen & Heath QU-16, or better still a GLD, but with a DANTE card. You could maybe pipe the ISO feeds of the inputs out on DANTE to the fader panel/mixer, then pipe them back in on other DANTE channels. The devil in my ear says 'delays'. TBH I wonder whether the PIX is the machine on which to hang all of this. The no mix engine breaks the idea really. Enjoy, sb
  19. you get the answer at 8'00
  20. On the occasions that I have started something (episodical) that I think might run, hopefully with me in the main mixing role, I have done a big memo to post prod before we have started. This memo will include general settings like sample rate, file type, bit depth, Cedar mix on Ch1 and maybe 2, clean mix on ch 3 and maybe 4, Isos starting with booms and plants on 5+, radio mic isos starting on 11+, PB etc.. on ch 21+ etc..... By the time I have finished this email, I pretty much have the document that I need to send to 2nd unit mixers if they come on board. It works pretty well. Kindest regards to all, sb
  21. Advice on sound kit R4+/SD/Zax/Zoom

    The Mix Pre's will not grow with you, dont have proper TC, etc... 633 is a good basic all rounder Sonosax is a stunning machine, which has the ability to grow with you (extra IPs bolt on, fader panel coming, etc..) Maxx is... an interesting machine!! All of that siad - if you have a limited budget, and I say say this often to starter uppers, buy the kit that you will use the most, first. Buy a boom mic and a boom first - you will use it every day. Buy radio mics next, get second hand, quality stuff, not G3s Then but a mixer recorder. By the time you do this you will know what you want. If you cant afford the one that you want then sell your grandmother or wait. Do not buy a compromise on the mixer/recorder - you will be beholden to what you paid for it for so long that you will delay buying the one that you wanted and will then regret that. Good luck, and enjoy every day at work. I still do ;-) Kindest, sb
  22. Good MS Recording Example

    Dare I suggest that you take any MS recording, and play just the M, and then play the decoded. The difference is usually stunning ;-)
  23. Sonosax SX-R4+

    The brackets look dead cool. Any chance to make them in black? v3 soft is excellent. nice limiters - thankyou for these ;-) sb
  24. Mixer Mods for Zaxcom?

    If I remember rightly - Zaxcom recorders communicate with their panels in the realm of RS422 or RS232. Whilst I believe one can convert from USB (most music fader panels connect via usb, yes?) to 232/422 I suspect you would then need to remap the entire function and communication settings of the fader panel. Unless you are an excellent hacker/programmer I genuinely it could ever be financially practical to achieve this. On a related note. I believe that Sonosax are considering making their SX-R4+ look at standard fader panel protocols, which could be interesting. That said - does anyone know of any location practical fader panels with more than 8 faders? From the land of the hung parliament, Simon B
  25. Control surface vs mixer

    Go on then - you big tease - tell us some more about your new 24 track Dante rig, please!!!! sb