Constantin

But the overlap is not god-given. At some point they made the conscious decision to have a full block 470 which naturally overlaps block 19, because they wanted 470 to be 25mHz wide like the other blocks. They could also have chosen a crippled block 18 or whatever, but who would’ve paid for that? So it’s an error in their own system rather than something they couldn’t have avoided. And they decided to make the pilot tones block specific instead of frequency specific, which I‘m only guessing they could’ve done, too.

yes, it does makes sense! And thanks for getting back to me about this, that’s exactly what I was looking for, so thanks for letting me know and for your engineers to implement it like this!

Every rf component you add to your signal path causes a reduction in you rf signal, I think it’s at least 3dB per component (like even a BNC to SMA adapter), unless it’s a passive splitter which can have a higher loss. I don’t think it‘ll raise the noise floor, that only happens if you boost the signal at some point, but if you’re not then you should be fine as long as the rf loss is ok with you. I‘m guessing the SL-2‘s filter won’t cause any loss, though, as it‘ll compensate for it. I agree with Trey though that you probably won’t need all those filters. It’s definitely helpful to have some sort of filter before the SL-2, but one should suffice. Get the LFA which is great and ditch all the passive guys

Did you have a chance yet to look at the waveform of the recording? That could give you a clue if it’s the recorder or the lav mic/wireless gear

Yes, you can ask most of the manufacturers and they will tell you as much as they feel is appropriate, so you don’t have to worry about it. They won’t give you a name, but they may confirm that your name is correct, although may not know, as a dealer would have sold the item. So basically they can tell you if the serial is legit and probably the region where and when it was first sold, but not much more

It would be great though, if it could be a bit more flexible than it is on the 822. Specifically, I‘m hoping that I will be able to route 4 channels via AES using only two physical outputs, with each carrying two channels of AES. That leaves two physical outputs unused and I would like to be able to route something to them. Like an analog out taken from receiver 1 or whatever. This would allow me to record an actual backup on another machine. you may recall that I asked for this for the 822 as well, but afaik it never happened. So it would be awesome if at least it were to happen on the DSR

For me the Cinela Cosi offers the best compromise between sound alteration and wind protection, while also offering very good isolation from handling noise and it’s still a very compact rig, as it’s both a suspension and wind protection. you can do wild boom swings with it and you’ll barely hear any noise, neither airborne nor structure-borne. And it works well in light winds outdoors.

Yes, I have also bought a pile of the Rycote PCS, they are brilliant. And they are kind of purple, too!

Well, you got me there! That actually makes sense. And demonstrates that I didn’t read the arcticle. Although I personally (and I‘m not blind, so I’m just guessing) think that any car driving is loud enough to be heard, but especially by blind people, even without that EV sound. The tires on the asphalt alone are quite noisy. Although if the lobby for the blind pushed for it, there must be something to it. Maybe also they didn’t anticipate how loud electric vehicles still are? I‘m a cyclist too, though, and usually I can’t hear anything because of my in-ears blasting music… no, that’s a joke. The wind is usually so loud I can’t hear much else so I really have to look. But with all that said, like I mentioned before, I really like that Renault sound and if all cars had that, that‘d be fine. Especially as for now you can switch it off.

I love that sound. I was annoyed at first when there was talk of a legal requirement to fit electric cars with noisemakers, but Renault certainly solved this in a very pleasant manner. I still maintain that people should look before crossing a street instead of listening, but some people don’t agree. I‘ve had heated discussions on this topic, which I find really weird. But I digress…

Diagnosing issues from afar is never easy, so we may or may not be able to solve this. However, 30-60 mimute long takes is well within the length where digital devices start drifting apart. It’s unusual that the cameras would stay in sync, unless they were recording shorter takes (?), but it’s not unheard of. Genlocking all devices would indeed solve this, if all devices are genlock capable. Cutting and rolling again more frequently would also help with this. Did you check the camera sync when the were all lined up in Premiere or where/when/how did you check sync?

You could also consider something like this: https://amzn.eu/d/gkhAHL7 which is much lighter, but not as good obviously. Especially picture stabiliser is missing (I think), but it’s also much cheaper….

Timecode itself is very precise. In the audio file header it is stored as Samples since midnight and the tc value is calculated from that. The problems arise when different devices start to interpret tc slightly differently. For example cameras can only snap to the nearest frame and that can create a difference to another camera by up to nearly two frames (-1/+1fps). But since you’re apparently not using a camera that will not be an issue. So if your Zoom recorder really does accept Wordclock or can derive a wordclock signal from a timecode input (which is possible) you should be fine. If the Zoom can only do one or the other but not both at the same time, then Wordclock is probably more important to keep the recorders from drifting apart. Aligning the actual audio files shouldn’t be a big issue and once it’s done they stay like that if you used wordclock. You will still need to phase-adjust your individual microphones unless they are literally sitting on top of each other, so don’t worry about that part that Borjam mentioned. But with wordclock the individual tracks will stay locked for for the duration which saves a lot of time in post, more I think than aligning the audio in the first place. When I used to regularly record with two recorders I would try (no of spare tracks permitting) to record one source to both machines. This provides another reference to time-align both recorders‘ files in post.

I‘m not sure why you want both batteries to drain sequentially rather than simultaneously? The time it takes until both are finally depleted would be the same, so maybe it doesn’t matter much, plus your way allows for more time to change batteries, but with my way you‘ll have less loss in the stand-by battery. Maybe not really an issue. Not quite what you’re looking for, I know, but Remote Audio make a dual NP-1 cup that allows for seamless battery changes. To scale things up a bit when needed I bought a dummy NP-1 with an XLR4 input which I can use for any power supply. Funnily enough, just today I ordered a DC-AC converter which also accepts AC as an input and will switch over from battery to AC once the battery is near empty. I use it with my small solar installation….

While I can recommend the Scorpio as a fantastic and flexible recorder, where what you need can be achieved „in-house“, setting to simultaneously record on both the 8-series is very easy. There is more than one way, but the easiest is to set the 8-series to Auto mute TC (Now it will only output TC when it’s recording), and set the 788 to auto-rec on tc (or similar, it’s been a while). Now the 788 will roll when tc is incoming. done

true, but I think for the use-case of a VO booth or podcast box or whatever a cardioid is actually more useful than a hyper

I would also look at what Rode has to offer. For example the NT-6 could fill your requirements perfectly and they sound decent enough. On axis at close range is where most mics sound their best.

It‘s semi informative at best. None of the solutions discussed here existed back when the video was made, but more importantly wind doesn’t usually blow on the tip of the shield only, it can come from any direction. And perhaps even most importantly: how does the sound change with each wind protection? The video didn’t demonstrate that at all

I disagree with that. Critical listening is something that can and should be taught. Just like musicians learn how to identify chord progressions for example, it is equally useful for sound recordists to learn what to listen for. I would say that trying to identify problematic set noises while other things happen on top is a usefull skill that comes with experience, but can also be taught and praticticed. Also what differentiates microphone polar patterns and mics. It’s good to have this experience before walking onto a set for the first time.

As well as a low price

Actually, on my current project with the Mini LF they specifically asked me to provide a straight Lemo instead of the angled one. But this does confirm the practice to always speak to the camera dept beforehand and ask them for their preference

Cosi and Super Shield are meant for different situations. I consider the Cosi mostly an indoor shield which is suitable for light to medium wind outdoors. Anything stronger requires a full shield and if it comes down to those two, ypu should go with the super shield or try to save up for the piano.

Yes, I agree that it is not totally bad that they have teamed up with Sonosax. Certainly I am happy for Sonosax. And while I can see some special legitimate use-cases for this, I also worry that this is another nail in the coffin of the location sound recordist. Not saying it's the final nail, but one more. Had a longer reply planned, but can't find the time at the moment...

What are those great Sonosax preamps going to be used for? The best sounding scratch track ever? Or will we be required again to record broadcastable audio on the camera?

It‘s actually very easy. Just unscrew the Rycote zep, and pull on the cable and the mic slides right out. Unscrew from the Lemo and that’s it. It’s faster than taking it out of a regular windshield kit.