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About nickreich

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  • Birthday January 1

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  • Interested in Sound for Picture
  • About
    I do Sound For Picture and Location Recording - primarily for projects involving Theatre, Live Performance or Live Speaking events. Projects range from full-length films of Theatre and Opera shows, through to EPK/TVC shoots, Documentary and Streaming.

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  1. Spring Clean

    As you're in Australia - the Australian Sound Recordists and Boom Ops WTB and For Sale page would be best. https://www.facebook.com/groups/982542505103878/?ref=group_header For more specialty stuff like the Soundfield, the for sale section of this site (JWsound) would be good but I think you need a minimum number of posts for it to become visible - maybe PM Jeff, the Admin.
  2. Delivering files from multiple recorders

    Hi Bouke, I'm curious how BWFmerge would behave if the 'Master' folder contained several short takes, and the other folder contained TC Sync'd longer takes that overlap several of the 'master' takes. This is typically what would happen when one is using one of the new body-pack sized recorders (such as a Lectro PDR, the little Tascams or similar) on some talent who you may be having trouble covering with a wireless mic, while recording other talent with a boom or wireless into your main recorder - such as a Sound Devices 788. . You normally jam sync the PDR recorder before fitting it to the actor, after which you may do several takes and setups of a scene before getting the PDR back from them and stopping it (other readers, please refrain from mentioning the Zaxcom solution to this - it's not relevant to my situation). Would BWFmerge be able to slice chunks out of the PDR Recorder's single long file to merge with the master Poly BWF individual takes from the main recorder? If not, it might be worth seeing if you can add this function. It would be a big deal in making the use of these little recorders something that requires less work in Post, as while it's pretty easy for a proper audio post person to handle, it's a big task for a picture edit assistant, and they may need that performer's track for the edit long before a Sound Professional is involved.
  3. In the Live Sound world, with Powered Speakers (speakers with their amps built in) becoming ubiquitous, combined power+signal cable is very common, carrying line-level balanced audio and AC power together for long distances. Induced hum is rare and considered a sign of bad equipment design. Your application however is likely to be carrying mic-level signals and unbalanced (though shielded) video so I'd stick with DC power - and don't use the overall cable shield (if there is one) as one of the DC conductors or share grounding within the cable 'bundle'. Then there should be no more risk of grounding issues than individual cables. Techflex is great for short looms, but I'd avoid it for longer runs as cables tend to twist and kink inside under heavy use. There are cable manufacturers who will make up custom cables containing power, balanced audio, and Coax in one overall jacket to your specs, or you might find the right combination in one of the manufacturers ranges, and just use the color-coded Techflex to make the fan-outs at each end.
  4. Lectrosonics SMWB coming soon?

    maybe it could be made to switch between record and transmit 96,000 times a second to keep the Lawyers happy...
  5. Recording applause in Germany - Advice

    I record a lot of audience reaction stuff on the jobs I do - the one rule is you always need more 'air' between you and the closest audience members than you'd think. Otherwise you'll have identifiable single clappers in the foreground. Also, steer clear of Coincident stereo mic techniques for most uses - spread either side of stage gives a much less coherent sound which is more useful to post - especially if they want to put it in Surrounds. If this is a sound-for picture project where you can see the audience in shot, and if you can get a 4-preamp recorder, I'd go for a very tall stand on each side of stage, with a Hyper (like the MKH50 you suggest) covering the near-half of the crowd, and a shotgun covering the rear half of the crowd, both on the same stand (I use a very short Stereo bar for each side). If you want the more diffuse (polite) applause popular with Classical Music recordists, a wide spaced Omni pair would give you that sound, but still up at least 3m. If you have the venue to yourself simply to do "Applause Group" FX, many venues like you describe will have a bar or winch lines over the front of the stage suitable for mic rigging, too.
  6. NEW: Zoom LiveTrak L-12

    just read the manual online - the faders are not motorised, as you guessed, it uses the channel meters to show you where to move the fader to - you have to pass through that point for the fader to 'grab' control - very old-school! It's not just for Scenes though - the faders do the 5 monitor sends as well, using the A-E layer buttons, so this is somewhat of an annoyance.
  7. Wave Agent

    There's a freeware Mac one called SoundFilesMerger which works well, but only for merging - not with all the timecode and metadata functions we need for Film work. In the WIN world, BWF Widget from Courtney Goodin comes with a merger/splitter utility.
  8. Wave Agent

    combining different start times isn't possible in Wave Agent. Other Poly mergers can do it but they'd align the files from the front edges which would be out of sync - so yes, you'd need to spot them to timecode (or waveform match them) in a DAW and re-export.
  9. Multi-bay NP-50 charger

    yes, that's the one I saw. The Lectro one looks good too, wasn't aware it existed. Thanks all.
  10. Low-End Saramonic Wireless

    a great way to test the quality of processing (particularly the compander) in a radio mic system. Jangle a ring full of metal keys about a foot away from the mic and listen to the result - then compare it to another brand / model. It's a very complex and edgy sound source that can be a bit unfair on gear, unless you are working on a cooking or renovation show, when such sounds are common!
  11. Multi-bay NP-50 charger

    I thought I saw a photo either here or on one of the FB pages of a multi-bay slot-loading charger for 6 or 8 NP-50 (Fuji) batteries as used in Lectro SSM transmitters (and the new little Zaxcom one, I think). Search as hard as I can - I can't find it again. Does anyone have a link? Thanks, Nick
  12. The other option to interface to a PIX 260 or 970 is external Analog to Dante conversion, the only practical 12vDC capable ones I've seen so far are the Ferrofish ones. The 16-channel one is MADI only, the 32 channel one is available as MADI or Dante. Both are in a 1rack-unit case. I was looking at these for a colleague - I use a 01v96 myself and love it, but always have access to mains power.
  13. Yamaha QL1 Soundcart

    Hi PJ, while my own console in Australia is an 01v96 which I use with SD970s via dante as you describe, I did use a QL-1 on a job in LA with rented gear last year. Location Sound provided the rig. I found it quite fine to use for the work I do, but could see the fact it has digital input gain adjustment (in 1dB steps) could be an issue for recordists who are used to adjusting input gain over the top of dialog. The stepping might be audible. It's quite a bit taller than an 01v96, but not as tall as a Digico SD11, which I also use a lot. Other than that, I liked it, the big screen is good to use. Sounds nice and clean.
  14. BWF.P vs BWF.M

    Poly files are certainly more editor-friendly in normal production situations - only one file per take. Most of my work, however, is very large track count (64 or 128 tracks) and sometimes takes of 90 mins length in concert filming, and in that case Poly BWAVs have a few problems. Firstly, it's still considered wise to limit file sized to 4GB maximum, and on a 64 track recorder like a Sound Devices 970, that means the recorder will automatically split your take into a new file every 7 minutes or so. These seamlessly re-join, but freak out post people who are not used to it. Secondly, the available apps that might be used to extract/split out specific tracks - so you can give a mix track only to the picture editor, for example, only work up to 32 tracks (including Wave Agent - even though Sound Devices make one of the three available 64 channel recorders) . You can dump a 64 Poly BWAV into ProTools and it will split the tracks out, but that isn't quick and simple enough for end-of-day location use really. I don't know what would happen if an assistant editor tried importing a 64-track BWAV into an Avid or FCP. Thirdly, unless your recorder pads out tracks that aren't record-armed, each Poly BWAV take could have a different number of included tracks, and dropping them into Pro Tools can be a little more thought-intensive for an edit assistant as regards getting all the material on the right tracks. For normal 8-16 track film shoots though, Poly's are nowadays more accepted and less susceptible to post losing tracks.
  15. Samplitude's "O-Ton-Modus"

    Well, I use QLab for this. Easy to make cues from one or many source files and drag them around in the cue list stack, it's way deeper than it looks at first glance, it's the predominant playback system in Theatre nowadays. Not a timeline like a DAW. It's also quite possible to make ProTools stop-and-recue from clip to clip using a MIDI Track sending via an IAC driver to Keyboard Maestro to convert a specific MIDI note to a spacebar-tab message if you really need to use a DAW. That will work with any DAW (ie Reaper) that can do MIDI.