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TJW

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About TJW

  • Rank
    Hero Member
  • Birthday January 1

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  • Location
    London
  • Interested in Sound for Picture
    Yes
  • About
    Production Sound Mixer
  1. NEW: Ambient | NanoLockit

    Hi Nagnila, I have been using the Nanos since February when Klaus sent me some pre-production models to put through their paces. I now have 10 on 2 films. A full charge gives about 35 hours use. More importantly, charge them for perhaps an hour and you can get a working day out of them. If I read correctly, you are using them in a very specific basic way in that you and jamming one and you then hold the green button to jam the others? The Nanos are intended to be very low battery consumption so when you jam the other Nanos, it is only a short range operation. I and many of my colleagues are using Nanos in an 'Ambient Clockit Network', an ACN - which we were doing with tiny Lockits and ACL204's before. You can use a Master Lockit as the master which has the advantage of constant jamming over a much greater distance and iPad / iPhone integration so that you can set the master and keep an eye on all the network components. A smaller and cheaper alternative is to use a Tiny Lockit as the master. You set the Tiny from a timecode source and the Tiny will constantly jam the Nanos and any other Lockits set up as slaves, but without the iPad / iPhone integration. It is a really good system.
  2. PSC RF Multi SR Six Pack

    The 6-Pack has been around for several years now and it is a useful piece of kit. I have two of them: One is permanently on the cart (until the Audio Ltd 1010 4 slot 19" rack displaces it) and one that floats between the bag and the cart when I need more than 8 channels. On board antenna power for my Betso Sharkies. For: it is inexpensive, 3 x receivers is a good number knowing you can add an extra one or an extra rack with its RF distro. Choice of TA3 connectors and Hirose 4 or 37 pin. I mix AES out on the Wisys and Audio Ltd 1010 with the analogue out of the Lectros with no problem. Against: Construction is not as refined say the Lectro racks and it uses local UNC threads - PIA anywhere outside the States when you are fixing into its screw holes and screws are not so easy to source. Conclusion: good piece of kit.
  3. Cantar X3 Mini

    It is a custom made hinge and I have the only one at the moment. I have sent the hinge and the drawings to an engineer who can make a small batch. If it can be done at a reasonable price, I will make it available. I will have a one off to look at on Monday and I will keep you in the loop if it is viable. I have attached a few pics of the friction hinge mounted 6-pack with the Aaton bag. I have added a small accessory pouch and extended a strap around the whole thing so it is firmly in place using it over the shoulder.
  4. Cantar X3 Mini

    It will always be more of a challenge to bag a Cantar that a regular box shaped recorder. It calls for imagination but you can do it. With the X3, I was always aware that the 'unibody' structure of the recorder was totally solid. At the design stage, I had them beef up the connection assembly on the front and fit 2 x 3/8" fixings. As the X3 has strap posts on the back that you can use to either fit a strap or attach to a harness, you can then attach accessories such as a radio mic rack to the front fixings so the bag itself is not holding the weight. The weight is on the strap and the accessories are attached directly to the X3. I started with my X3 in my old X2 bag - a conventional bag - but as it was not designed for the X3 it did not have all the access I needed. I now use the Aaton bag with a slight modification so that it fits around a 6-Pack which is mounted on a friction hinge on the front of the X3. The bag is protection and provides padding between me and the recorder. It is not as structural as a conventional bag as it only takes the weight of a few accessories such as a keyboard and IEM transmitters. A bag for the X3 Mini can be approached in the same way as it is also an X3 but smaller. It has the same strap posts and it has (4mm) fixings on the sides that accessories can be secured to. I have seen the Aaton bag ideas for the X3 Mini and when it comes out I will be integrating Mini with receivers and bag. IMG_2109.MOV
  5. Cantar X3 Mini

    I reckon Mini is quite a cool piece of kit. All the quality of the X3 but scaled back. I am quite a fan of much lighter TA3s - the 5 pin XLRs on my X3s are all converted and I use the Rean XLR3 to TA3 converters. Horses for courses. It is definitely 4 x transformer balanced mic/line plus 2 dedicated asymmetric line inputs. A total of 6 analogue.
  6. Aaton Cantar X3 user feedback?

    I echo Axel. It is a top recorder and a 24 track recorder with the outboard kit you would use with it, will not be the lightest. That said, although much of the time my X3 is cart based, I do use it in the bag and it works really well and for a few hours at a time it is really not a problem. I also use it in the bag on a folding lightweight cart on some fly away jobs and often add the small fader panel, the Cantarem. It just works.
  7. Hi Axel, Nice description of your comms set-up. I can't say too much but Cantaress does include much that was included in my initial sketch of what I called 'Cantaress' back in 2012 when I was working lightweight on my X2 with a Cantarem and wanted the panel to do more of what my Sonosax did on my full rig. Now that we have X3 which we can use it either stand alone or with the Cantarem 2 so the Cantaress will be a great addition to the cart and be at the heart of mixing. Tim
  8. Buy a new wireless

    I added Wisycom to my kit a year ago as a temporary measure as the wide tuning Lectros that I wanted weren't yet available in the UK. Wisys have now become central to my system. I have bought more and use them alongside my Lectros and have no problem with mixing the different latencies and correcting them on the recorder. Wide band tuning and AES out (on the subD) at no extra cost. For me, they were more cost effective than other makes. I bought through Raycom, the UK importer. They have answered all my questions and sent a loan unit while one of my transmitters was checked. No manufacturer or dealer is perfect and I would think twice before ruling any manufacturer out. Tim
  9. I used a Sonosax ST for 9 years and it is a truly great analogue mixer. Using the 2-way system that was on the Sonosax, I set it up with Sennheiser G3 returns from my crew but it only lasted a few days before the crew got fed up of the extra complication of mics with PTT boxes and belt packs. For the years that I used the Sonosax, I used the comms section in the traditional simplex way. I could have bought the Sonosax cabled comms boxes but I cannot see my crew working with hard wired comms. For 20 months I have been post Sonosax ST, using the Cantar X3 initially with the Cantarem mixer panel from my X2 rig, then the Cantarem 2 and I am looking forward to mixing on the Cantaress next year. The X3 may not have the dedicated comms system that the Sonosax had - and I suspect used by relatively few in duplex mode. But it does have many inputs, outputs and routing options that should enable you to set up a system quite similar to the Sonosax dedicated system. You have press to talk (Talk 1 / Talk 2) on the X3. You have 12 analogue inputs on the X3. If you are using all the analogue inputs, use the AES3 inputs and an AJA ADA-4 AD / DA converter for the comms return from your crew. This return could be unrecorded but routed to the sound mixer's headphone mix. PTT from the crew would go through to the headphone mix. Talk 1 or Talk 2 direct to the sound crew. There are so many routing options available that I am sure that you can find a solution within the X3 with no extra external equipment. For me, since a production edict a few years ago on a studio film that the boom would not be used for any comms, we have used Walkie Talkies like everyone else on the set. I have become used to a covert earpiece that remains in my ear all day and I wear my cans over it when monitoring and for my way or working, it works well. This also has the advantage that I can walk away from the mixer and I still have comms. Likewise, my crew are not cabled into a comms system. Comms are comms on the walkies and programme is via IEM in the usual way. It is wireless so they always have comms on the set, if they are outside in the sound van or collecting the coffee order. Our way is just one way of working. It won’t suit every crew but for us it works well. Tim White
  10. Cantaress announced at NAB

    It is great to see that Aaton have announced the Cantaress at NAB. This will be their new full size fader panel to use with the Cantar X3. The announcement comes just as the Cantarem 2 compact fader panel is about to hit the sound shops. Cantarem 2 has 12 faders, is no wider than the Cantar X3, using Aaton's magnetic fader system but perfected to a smoothness that rivals P&G by running super comfortable faders on polished steel rails. I used a pre-production Cantarem 2 at the BSC show in London a couple of months ago and it was impressive. I was at Aaton in Grenoble two weeks ago and the production version has had some tweeks that make the faders really silky smooth. I have been using the original Cantarem 8-way panel with my X3 for nearly a year now and even that has worked really well releasing the Cantar top faders to control line-outs and digital gains. Now that the X3 has eq on all the analogue and digital inputs I am missing my Sonosax less. In fact the digital delays mean that I can match wireless of different latencies and the versatile line-out routing means that the X3 and old Cantarem combo far exceeds what I could do with my lovely SX-ST. So, with the announcement of a full spec panel I am expecting I will have my hands on faders and trims that will feel not too dis-similar to my Sonosax mixing days, but right up there in the digital domain. There are no details released but the original concept for the Cantaress was in an email that I sent to Aaton back in the spring of 2012 when I was 2nd unit on Skyfall. We were in Turkey and a sudden fog meant that we were grounded and couldn't do the train top fight that we were scheduled to shoot that day. In the down time, I started sketching, wrote a spec and emailed it to Aaton calling it Cantaress and this was the starting point long before the X3 reared its head. So, I feel emotionally tied to the whole Cantaress project and cannot wait to help shape its features and to put a prototype through its paces. Back in 2012 I was just a happy X2 owner wanting a few more tracks and faders. I am now tied by an NDA and after my input into the X3, Aaton asked me to be their dealer in the UK - something that I am really enjoying. So I am no longer the independent enthusiast but I am still objective. I will be mixing with a Cantarem 2 very soon and its 12 assignable faders will do almost anything I need. While the 12 faders on the Cantarem 2 are assignable so are the 10 linear and the 8 rotary faders on the X3. This makes for some really versatile possibilities and the need for the user to have clear methodology. X3 for me has been a great journey so far but with Cantaress on the horizon, it has only just started. I hope you like this colourful 'bag' X3. Tim
  11. Cedar DNS 2 Portable NR unit

    There is no right or wrong that applies in all filming situations. In the scenario of working on studio movies that might be a year in post, the mix that the production mixer provides is used for viewing and temps for many months before the film is finally ADR'd and dubbed. In this case the subtle use of the DNS 2 could be advantageous provided of course that unprocessed tracks are also supplied to post. Post will always use the raw tracks but the processed tracks will have made cutting and viewing a better experience for many months even though they will not make it into the final mix. The SuperCMIT has its uses and I can see the DNS 2 also having a place. Especially as it has both analogue and AES3 inputs and outputs, I can see me feeding the DNS 2 from an AES output on my Cantar X3 and inputting it digitally back into the X3. That way, a boom, a mix or almost anything could be routed through the DNS 2 as required and with controls on the cart, you can be as subtle as you like. I don't get to try it until next month but for me it could have a place. Tim
  12. Credit is to Stuart who built it but thank you all! Tim
  13. I apologise for this late update. I collected the new cart at the end of November and it is indeed a work of art. A few pics below to go on with until I write it up properly, but it is already a runaway success. The first question from other sound mixers is "will he build me one?" This cart is small and light to manoeuvre when retracted, perfectly stable to wheel across the studio when extended but either standing or sitting at a director's chair, my working posture is so much better than at any other cart I have used. I can sit upright with my feet on the battery box. My sight lines keep my back straight and my neck relaxed. I will add a Cantarem 2 in a few weeks but with this new cart and the many updates to the X3 (eq on everything, input and output delays and amazing output routing), I am really not missing the Sonosax (well, perhaps a little). Below you can see the extended cart, the top section showing the X3 and the original Cantarem panel - soon to be updated to a Cantarem 2. A keyboard drawer and a 1U pen drawer. There is Marshall 15" HDI / SDI / HDMI / analogue screen (either for single camera or I put an HD quad on video village), iPad mount / charger (with plexi converter for paper sides) to the left, iPhone mount / charger to the right and above are mini rig speakers with sub. Top section is a six pack for Lectro / Wisy / Audio 1010 receivers, a power / switching / (Dante ready) gigabit network switch / IEM 1U box and above that a Venue 2 (and space for another). Above that is a retractible mast for a pair of Betso Sharkies on a Manfrotto 154b mount. The cart wheels into the van and is less than 1m high in its X3-PO guise. And the last pic is me sheltering from the cold in December on the back lot. Enjoy, Tim
  14. Cantar X3 input to track routing

    Hi Jason, Sorry, I am a bit slow out of the blocks on this one. When you are routing to the line outs you create a configuration. This is a routing plan that you can label and then apply to any of the 8 analogue line outs, the 8 AES3 digital outs or the Dante outs (24 I think but I have not used the Dante yet). When setting up the configuration, you can select the iso track that you wish to route and it will be at the gain set by the input trim - the level at which it is being recorded on its iso track - and it will be T3 or T4 or whatever in the configuration. If you wish to send to the line out at the level you are feeding it to the mix, i.e. post fade you press shift 5 and T3 or T4 becomes P3 or P4 and you have post fade at the line outs. It is very versatile and on a project that I am currently mixing, we can feed puppeteer's vox to particular actors who need to react to it. One of the many great things about the Sonosax ST which was my mixer for nearly 8 years were the aux outs. The X3 is infinitely more flexible and with a little AJA ADA box I can have 12 line outs - more than enough for the sort of movies that I do. I hope this clarifies it for you. Tim I have added a screen shot of config page showing T3 pre fade and P4 which is T4 switched to post fade.
  15. Cinella/Rycote handling noise

    And remember it isn't just the brand of kit you use as both Cinela and Rycote are premium products. The set-up of your suspension is vital if it to work at its best. With both Rycote and Cinella there are different stiffness of suspension available which have to be matched to the mass of the mic. Don't expect a 416 to need the same suspension as DPA4017. And when you get the right suspension components, is your header cable to the mic light and flexible? The old twin core Sanken Cos-11 cable works well for me. And are you rolling off the bottom end sufficiently? I am a big fan of the Rycote Tac!t between the mic and the mic pre-amp. Makes all the difference. Small tweeks can make a big difference. Yes you can chuck your old system out and buy a new one but will the new one be better because it is a superior product or because it is better set up? Tim
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