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About nickreich

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  • Birthday January 1

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  • Interested in Sound for Picture
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    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. DIY camera snake?

    The current Canare foil shielded material is very good - huge amounts of the MR202 in various channel counts are used in touring sound systems. I've been using it for many years in Theatre and Outside Broadcast and similar fields without issue - the only thing being to make it so thin, the jacket around each core is not really rugged enough to use on it's own as tail-ends or fan-outs. You need to cover them with either Heatshrink, or preferably Techflex if you want to make fan-outs.
  2. DIY camera snake?

    Certainly the Canare MR202-4AT cable fits in a NC7-XX connector without difficulty but it's 7.6mm OD. I run AES through 20m lengths of this cable all the time, although it's not sold as such.
  3. DIY camera snake?

    Canare MR202-4AT 4-pair multicore cable. If you want breakaways, the easiest is to use Neutrik 7-pin XLRs (meaning you'd only use 3 of the four cores in the cable - balanced Left and Right plus unbalanced monitor return). I have a short adapter to convert from the 12-pin Hirose connector that Sound Devices use on some of their mixers to the Neutrik, and my little SD302 bag has a small box under the mixer with a panel mount 7-pin on it with short tails coming out to the individual connectors on the mixer. Rugged, inexpensive, and even camera operators know how to unplug an XLR without damaging it. You can then make different camera-end tails (fan-outs) to suit the cameras you work with (ie: 5-pin or mini-trs returns, 5-pin in for Arris, whatever stupid connector Red or Blackmagic are using this year).
  4. PDR Lectrosonics

    It's basically the same mic input as all their current Radio Mic transmitters, so will take any mic wired for Lectrosonics (either electret capsule or Dynamic) or you can wire up a cable to input a Dynamic mic or Line Level. It can not provide 48v Phantom Power for a full-size mic or shotgun - you'd need to add an external P48 power supply box connected with a suitably wired jumper cable.
  5. 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.
  6. 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.
  7. 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.
  8. 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...
  9. 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.
  10. 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.
  11. 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.
  12. 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.
  13. 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.
  14. 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!
  15. 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