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Emory Murchison

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Everything posted by Emory Murchison

  1. MixPre 10t output level

    No I guess not. They are protecting the 6 series I suppose. Sent from my F5121 using Tapatalk
  2. MixPre 10t output level

    Has anybody figured out the reference output level of the new MixPre series mixers? It says max output is +7.8dBu, but does that correspond to 0DBFS? Hooking up line level to a camera doesn't seem to work because the level is quite low. How are you folks doing it? Emory Sent from my F5121 using Tapatalk
  3. MixPre 10t output level

    Sony f5. But I tried also feeding tone into my 302 set to line and I also had to almost max out the gain to get 0dBu. After a few experiments I figured out that the x1x2 output is an exact level match for the tape out/mix in on the 302. From the specs I'm guessing the main LR out has the same level. I was really hoping to fall in love with this unit but sofar not so much. Also no level meter when adjusting gain! Yikes. Sent from my F5121 using Tapatalk
  4. Radio mics in Moscow

    Anybody have experience working in Moscow? good/bad blocks, general advice. thanks! emory
  5. Zoom F8

    I've been using this on a few documentary projects. It works great! I had a few noise and RF interference issues at the beginning but I sorted that with some carefull bag planning. This is not a mixer. Switching back and forth between trim fader and pan using the same knob that is not an endless encoder just doesn't work. Also no camera return. If you need mixing capability get something else. I haven't tried the app yet. Noise floor hasn't been an issue but the preamps are more hissy than what I'm used to. It might not be as intuitive a machine to use as other pro recorders but it gets the job done, sounds good and it's tiny! Definetly makes me think twice about pulling out the Nagra VI if I know I'm going to be on my feet all day... I've used it enough to feel confident that it can perform in a professional context. If I were starting out right now I might just buy two of these!
  6. cycling to work

    here is my latest bike to work setup. my favourite new part is the rifle case for my booms. my bike is a little difficult to steer with the heavy pelican on the back but it works. also note this kit is indoor only. no zeppelins... happy trails!
  7. The quitest ambisonic microphone

    not sure what you mean by "the DPA which i made". can you elaborate? -emory
  8. Can 5DMarkIII handle ERX2TCD

    +1 this works. just be careful with connectors! tape is good, i also used rubber bands!! -emory
  9. Transporting blimps

    i keep my blimp and 4017 with other fragiles in a Pelican 1510 which i bring on the plane when travelling. still mint!
  10. Advice for capturing audio in room filled with poker players

    Just bluff. -emory
  11. just to throw another workflow into the mix: multiple 5Dmkii and Sony FS700. Each camera has a Zaxcom ERXTCD feeding ltc timecode onto one of the audio channels. plop all the audio from my recorder and the footage into Avid sync from the ltc of the video footage, and voila! theoretically it is even possible to also send a scratch audio track, but in practice the level mismatch doesn't work on the DSLR camera's so more gear would be involved or a special cable with one channel padded... also in our situation with the FS700 it was better to have an onboard shotgun. i know this is kind of a special workflow and not for everybody but i'll just put it out there because maybe it will be perfect for somebody else! -emory
  12. XLO Sensitivity Lavs/Mics

    I guess I should be clear that I was comparing a regular Cos-11 with the B6W5 version. The highest SPL listed on the low sensitivity B6 is higher, but in my experience the cos-11 did better even with regular sensitivity. I'm just saying that getting a low sensitivity mic and a high SPL mic are not necessarily the same thing. Ideally you should test for best results in a particular situation.
  13. XLO Sensitivity Lavs/Mics

    my experience with low sensitivity Countryman B6 mics is they didn't help for high SPL situations, even though their sensitivity is lower. So maybe they work best for preventing the mic from overloading the input of the transmitter, but not necessarily for dealing with high SPL. -emory
  14. zax tx with countryman b6 users

    i've used this combination. didn't notice any excessive noise, but it was used in loud environments and pretty close to the mouth, hence the "red band" i did notice that it had reduced sensitivity as advertised, but it would also overload which kind of defeats the purpose. in the same situation using a regular cos-11 i got better results just using lower gain settings. looking at the specs the "red band" version has max SPL of 130dB, and a cos-11 says 123dB@1%THD. I definetly noticed more clipping on the B6. for the noise the difference in "Equivalent Acoustic Noise" countryman says: 24 vs 29 dBSPL, neither of which she be a problem in most situations. to sum up a rambling and off topic reply: noise wasn't a problem for me with the B6W5 and zaxcom TRX900LA -emory
  15. Thom Shafer on boom vs lav

    i know you weren't trying to put down the other guys but this is more than just the difference between lav and boom. lav placement, clothing noise and pretty incredible mangling somewhere in there by some nasty compressor. depending on the placement i am sure there are examples out there where the differences are much more subtle. i also prefer the sound of a boom mic, but i do run into the occasional director who insists on a lav just because they like that really dry closed sound. no accounting for taste i guess! -emory
  16. Trx900la belt clip

    Ha! I think they did get a little carried away with the NeverClip idea. It's not supposed to apply to the belt side of things!
  17. Bumblebee Lav Windscreens

    I've used these on COS-11 and TL40. Tricky to get on sometimes, but very effective. I had one on a freeskii style downhill skier doing crazy jumps and tricks. i had some pretty impressive results considering! I've never tried the Rycote, so not sure how it compares. cheers!
  18. Zaxcom QRX "dual mode" real-world performance?

    I have also started using my QRX100 in dual mode with two talent mics. One TRX900AA (50mW) and one TRX900LA(125mW). I use them in a very busy RF environment (NHL hockey game!!) and the range in dual mode definetly is less. I am having trouble with TRX900AA starting at about 25', but the TRX900LA works great and only gives me drop outs occasionaly when a player is skating around. I'm not sure if this is because of the extra distance, movement, or the super busy RF environment, the ice etc... needless to say in this situation the recording feature is heavily used! I also have a Lectro system going at the same time: SRa with two SMQV at 100mW. The range on these is slightly better, but it's a different block so hard to tell if it's because of the RF environment or the different technology. Getting close to the talent in this situation is not going to be possible so I have been considering different antenna ideas. I am bag based and need to move around quite a bit but I think I could swing a dipole antenna on the bag. I'm just not sure now if I would neet two dipoles or an RF splitter to service the two antenna of my QRX100 in dual mode. My other idea was to mount some kind of fixed antenna near the ice somewhere and plug/unplug depending on where the action is. Am i crazy?
  19. QRX100 External Power solution

    i went with this system as well. it's okay but not 100% reliable. i had one die then slowly start expanding with an ominous hissing sound... also no level indicator so you have to be organized. I'v had them die an hour after putting them on cam but that was in hectic situations so maybe i switched charged/discharged batteries... but i'm normally very organized so i blame the battery i've done some tests recording to protools until the battery runs out and the runtimes are quite different depending on the individual battery. one went for 7hours, another only for 4!! but it is an affordable solution and i only need it for the lower budget days. I have three of them and I switch out at lunch to be sure. If I was buying again I'd probably go for the BP-U because it's reliable and easy to find.
  20. budget recorder for my mixpre-d

    It's true I do like my Roland R-26. Really no complaints. I was just using it today, I had an external stereo mic plugged into the XLR inputs and my mixer feeding the plugin mic input from the tapeout. Recording Lamborghini engine sounds! Fun stuff! The R-26 is very versatile, good battery life and decent sound. The onboard mics I almost never use. They are way noisy for anything quiet. The only thing I can personally compare it to is the H4n and the R-26 wins hands down. But it's quite a bit more expensive. By the way the Lamborghini engine sounds like poop compared to a Ferrari! (in my opinion)
  21. DPA 4017b

    I own and regularly use a 4017b which i bought in March this year. I love the sound and it is a very versatile mic. i've used it in the rain and snow, high humidity and heat with no complaints. for those who don't know this mic i would say the sound is much flatter than the usual suspects. it sounds very natural, not so much boost in the high end. i haven't noticed any noise floor problems, but i haven't done an AB test either... i love it, but that's just me!
  22. QRX 100 Timecode input problem

    I am unable to get the QRX 100 to Jam timecode. I've read everything i can find including the 225+ replies to the questions for glenn thread. IFB audio from the QRX to my TRX900 works The timecode cable (purchased from TREW) has signal going to the ring, I checked. My timecode source will jam perfectly when plugged into the TRX (signal to tip). I even tried making up another timecode input cable for the QRX with no luck. The QRX has software version 212 and IFB software 1.44 In the IFB extended menu I can't find anywhere to set the timecode source so I'm assuming that when IFB is in TX mode the timecode source automatically is set to the rear connector. The other strange behaviour i noticed is in the IFB menu I can only manually jam it to a set value once after powering up. after that when I A/B over to the JAM it immediately jumps to the TC Jammed screen without changing the TC value. I'm not sure what settings in the QRX could affect its ability to Jam from external timecode and I'm getting dizzy from going through all the menus. On a side note, thanks to all the replies and help from my QRX Fail post. The verdict from Zaxcom was a blown 3V regulator which they replaced. Any help with the TC JAM issue would be appreciated! -emory
  23. QRX 100 Timecode input problem

    I could imagine that the slightly off square wave might create problems but why does it work when i record then play it back from my protools? but maybe i made some kind of mistake in my troubleshooting... i'm not sure the camera man would be happy if i plonked the qrx + battery + denecke onto his little semipro camera. Derek, have you figured this out yet?
  24. QRX 100 Timecode input problem

    This i copy pasted from my post at the zaxcom user forum: i am having the same problem. i can't jam the qrx from a Canon C300 (I've tried 2 different cameras). so i did some tests. I recorded tc out from the camera and from the qrx tc out. here's a picture from PooTools: the level from the C300 is higher than the level out of the QRX (set to 1V) but it looks like the QRX signal has more HF content or is that distortion? I'm not sure how to interpret it. maybe someone who knows what a SMPTE LTC signal is supposed to look like could say. I also tried to jam the QRX from the signals I recorded and surprise surprise it worked perfectly. The signal I recorded from the QRX own output switched the QRX back and forth from JAM to TX in the IFB menu. But when I moved the fader up a bit it went to a solid jam. So I did the same test with the recorded C300 signal and it behaved the exact same way. I even compared the output level meter of the two signals at the level where the QRX lost JAM and it was virtually the same. so i'm not sure what the conclusion is but this seems confusing to me. it looks like the QRX only doesn't jam in the situation where it is plugged directly into the camera
  25. QRX 100 Timecode input problem

    Derek, no luck on the c300 jam. i did get it to jam from a sony f3 though so my unit isn't totally broken...
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