Jump to content

nickreich

Members
  • Posts

    289
  • Joined

  • Last visited

  • Days Won

    7

Everything posted by nickreich

  1. yes, we do it all the time in the Theatre. The best paint to use for MOST lavs is the little cans of spray-on shoe paint. It's designed for changing the colour of leather shoes, so is still flexible when dry. First put a little square of Gaffa tape or waterproof first aid tape over the grille, hang the mic straight down then do multiple sprays from a greater distance then you would normally think - so it doesn't get too thick. We often use a couple of colours as speckled overspray to match performers hair colour. A few brands of mic, such as the latest Sennheiser MKE-1 cable formulation, don't work as well with the shoe paint, and you have to use the little cans of model aircraft paint instead, but even that comes off in a week or so. Test your paint on a dead lav first if possible. We've tried the paper tape idea too, but it makes the lav to inflexible for head-mounts. May work OK for other types of mount.
  2. Thanks for the reply, Richard. I'm very familiar with Dante controller, and routing for redundancy - but I was planning the same sort of routing that Ramsay was as regards using the 970 as the master timecode generator, and also as an interface to get timecode into the Dante world so it reaches boom recorder - just as you describe in your recent reply to his other post. Thinking about replying to him made me realize I wasn't sure it would pass through a track that wasn't record enabled. From your reply to him, it seems all will be well. I'm willing to risk TC not making it to the backup recorder in case of a problem with the 970 - audio will still get there from my 01v96, directly routed via Dante, assuming the Dante ports on the 970 are still daisy-chaining. There's no real redundancy available with a computer running DVSC as it can only exist on a single Dante path - there will always be single points of possible failure whether daisy-chain or star topology is used. cheers, nick
  3. Richard, this makes me wonder... My 970 doesn't turn up till next week sometime and I've been unable to confirm from the manual whether the 970 and other pix units output audio (from whatever port is assigned to each track) while in record or record standby - as opposed to playback. That would be required if Ramsay wants to pass Dante onwards through the 970, if the original audio coming into the 970 is from Analog, AES or MADI inputs. I assumed it did, but as you have one, can you confirm that either way? If it does, does the track have to be record-armed, or simply have an active input patched to pass audio to it's output (which Ramsay - and I - would need to feed LTC from a 970 analog input through to Boom Recorder via Dante without recording it on a 970 track).
  4. For inside a bag, Canare L-2B2AT is fine, easy to terminate with it's foil shield and drain wire, and fits in Rean and Switchcraft TA3Fs easily too.
  5. There's quite a spread of work in between Scripted Drama production sound and the world of contemporary produced music, where you need more than 8 tracks, but you don't need 'overdubbing'. Reality TV is often un-mixable live and is a big and growing market which, I assume is the core target SD were trying to service here. My much smaller world of live Theatre and Concert recording is the same - we need the most reliable way available to capture multi-track audio with solid timecode and sync facilities, in the smallest space. All our work ends up on ProTools or another DAW in the end, but they are not the best idea for location capture. If you are wanting Overdubbing, you are probably not in a 'one chance to capture a real-time event' type situation. There's a raft of products (like DAWs) out there to suit you better than this or it's competitor, the JoeCo BBR.
  6. It should have been in the section about Looping Playback.
  7. Wonderful, Richard. I'm waiting for my first SD 970 (of two, eventually) to arrive in Australia. Are you going to have a keyboard for metadata entry to the 970, or use PIXnet? Also, do you happen to remember the details of the sliding shelf your 01v96 is on? It looks to be a 1U drawer, maybe? What method, if any, do you use to hold the mixer to the shelf for transit? Cheers, nick
  8. Well, Senator... I tried doing jus that. Take has not been well recently, as far as I can ascertain, and Boom Recorder was never his 'day job'. I have tried contacting him directly a couple of times in recent months with no reply. Vosgames doesn't have a support forum. In fact - I think this section of JWsound is, by default, the prime resource for real-world users of this product - most of whom, with the exception of one very odd troll, are happy to help each other.
  9. Hi Timo, While the new ACN apps look great, I've been waiting for the basic Clockit app to gain the timecode note taking feature that your website suggested was going to be available. This being a simple way to take written notes logged to incoming LTC (audio) timecode coming in the iPad headset connector, which can subsequently be exported as text or a spreadsheet. Are you still planning to upgrade the Clockit app, or is there any way you could add the LTC audio reading capability from that into either of the new apps, as an alternate source of time stamping? You may wonder why this would be required... I use a variety of different recording devices to capture long Concerts / Theatre shows. When using hardware devices only - such as JoeCo recorders, Sound Devices recorders, or recording audio onto the EVS systems in TV trucks, I'd like to capture 'marker' positions that can be imported into the ProTools session that this material is going to be posted in. These markers are usually at positions within the audio files, so the file-based metadata method these devices use isn't appropriate. If the Tonmeister or LockitSCRIPT app could do this and export the notes as text, I can use EdiMarker software to import them into the ProTools session. nick
  10. Hi Nirvana5253, The grommet to fit a D series hole is two pieces, as described in my original post. The outer metal D series bit is the body part from a Neutrik D-series BNC-BNC through connector, a standard part of theirs. If you unscrew the BNC part (still useful as a BNC barrel), the metal body has a hole in it about 13mm in diameter, but with a flat on one side to stop the BNC rotating. The actual cable gland / grommet part should be available at any electrical supplies wholesaler. The one that fits the hole is sold as a 12mm size (they are sized for the thread on the back) - I'm sure there's a similar imperial size. As you can see from the pictures, half of the Gland body is hidden inside the recess of the neutrik metal casting. If the Neutrik BNC-BNC connector is hard to find / too expensive, Neutrik and others do make plastic blanking plates the same size as a D series connector, with the two screw holes moulded in. You could drill one of these out to suit tour chosen gland or grommet.
  11. Thanks Scott - I'll suggest he buys it then. cheers, nick
  12. Hi all, Is anyone here running Boom Recorder 8.2 or 8.3 on Mavericks? If so, how's it going? A colleague has a new rig he can't 'back-grade'.
  13. A control surface would only work if the internal hardware or firmware processing potential supports mixing. I see no evidence that it does - even the headphone monitoring appears to involve switching between pairs of channels. These devices have been built as straightforward multi-track decks aimed at a part of the wider industry who need larger track counts. While it's very attractive as a cart recorder, it would be wrong to think of it as a larger 788. For people doing large scale reality shows, or people like philper and myself who record concerts / theatre / events - this would usually be hanging off a much larger console than an 01v96. In my case - more likely a DiGiCo SD10 or SD7. Try fitting that on a cart! Of course the thing that's so attractive about it's small size is that I can just as readily hang it off my 01v96 for 'smaller' jobs up to 32 channels - or even a little mini Solice - without lugging a huge rig around.
  14. Hi All, Finally got around to an idea I had a while back when I bought some Neutrik NE8FF Ethercon joiners. I often use Cat-5 (or 6) cable for very long balanced line-level runs. It's great for sending four channels of audio to video villiages, commentary booths, remote IFB transmitter racks or whatever. Commercially, this is available from ETS as the "InstaSnake" range, but considering there are no transformers (baluns) or anything involved, I've always thought they were a bit big. Here's my version. To make a set, I used: 1x Neutrik NE8FF joiner. This has one Ethercon connector at each end, joined by what looks suspiciously like speaker wire. I remove one of the Ethercon connectors (to use on the other adapter), and de-solder the joining wires carefully from both ends. The Ethercon connectors used in this adapter have a custom PCB on the back, and a custom outer cowling that aren't available as a stock part on their own. The 2-part shell that makes up the adapter becomes the body for one of the two ends. 1x Neutrik NA-Housing kit - a slightly longer version of the 2-part shell from the adapter - for the other end of the Cat-5 snake. The second Ethercon from the NE8FF gets screwed on this. 2x Nylon Cable Glands of the size that fits an M12 hole (I'm sure there's a similar size Imperial version). These JUST fit 4 pieces of Canare L-2B2AT thin balanced cable through. 2x Neutrik NBB75DFI or similar BNC connectors in D-series panel-mount bodies. I remove the actual BNC connector - I only want the D-Series body for this project. The Cable Glands screw into these - the existing hole where the BNC went is perfect, and half the gland is hidden inside the D-series body's recess. 8x XLR-3s as required. Start by removing the screws from both ends of the NE8FF adapter. Cut the joining wires half way between the two Ethercon connectors. Before removing the wire stubs, mark the side of the PCBs with a black sharpie next to the wire in each pair with a black stripe - it makes keeping your adapters in-phase easier! De-solder the remains of the joining wires, EXCEPT the one linking the grounds. This is a bit tricky, as they are plated-through PCB holes. Use a very small soldering tip and de-soldering braid, or better, a proper de-soldering station. Prep the Ethercon ends of the balanced hookup cable, but don't tin them as they'll never fit the little holes in the PCB. Push them through (I had to snip off 2 strands of the Canare one to fit) and solder in place. Twist all the shield drain wires together, solder close to the outer jacket of the cables, then use the remaining bit of original ground cable to join them to the Ethercon. Pop a little cable tie around the four cables near where they are stripped back. Screw the Ethercon onto one half of the housing shell. Screw the Cable Gland into the D-series bodies from the panel-mount BNCs, then push the four bits of cable through, and slide the whole thing up to the other side of the housing shell and screw it on, and tighten the cable gland around the four cables. Then just put the other half of the housing shell on, and solder four XLRs to the other end of the fan-out as usual. Repeat the whole thing for the other end, join with a short Cat-5 cable, then use a cable tester to figure out which XLRs are joined to which - and number them. If you use normal unshielded (UTP) cat-5, then the four pairs will be 'floating' - the Pin 1 grounds will not be tied from end to end. This is not a big deal with line-level, as the pairs are optimally twisted. Many people even use it for mic level signals. If you want the snake to pass Phantom Power, or you need a ground connection for another reason (Comms, 'wet' IFB, etc), or are in a nasty EMF environment and want a shield - using overall-shielded Cat-5 or Cat-6 (S/UTP or STP) will allow this. You can use cable with normal RJ-45s or those fitted with Ethercon shells. Cheers, nick
  15. I'd be interested to know if the Pix 270 can record 64 tracks of Mono BWFs like the 970, at the same time as recording Video - or only when in Audio-Only mode like the Pix260 does. If so, can you record Audio to one drive caddy and video to the other (possibly with the external eSATA drives mirroring each of them) for production hand-off to Audio Post and Editorial respectively. If that's possible (now I'm stretching it...) can the Video side of things be set up to get a copy of the audio mix track as part of the video file... I've been told this is not possible on the 260 by my local dealer in the past.
  16. +2 Wyatt! There is a limit to how small they can go, though. All manufacturers that support Dante use one of two OEM assembled Dante boards they buy from Audinate. The Ultimo board for 2 in - 2 out, or Brooklyn 2 board, that does anything bigger. The Brooklyn 2 board is about the size of one of those down convertors, then the manufacturer needs to mount it on a host board with their own AD/DA conversion, connectors and so on. I think the Lectro DNT BOB 88 one is about as small as is practicable at the moment. Four Audio and Atterotech in Europe have similar products, but aren't easily available outside the EU. More will come, I'm sure, but it sure would be great if Sound Devices, Lectro, or PSC made one that's ruggedised and conveniently powered for our use.
  17. I'm wondering if it would be better for the D-series connector for the Direct Outs to be a Male rather than Female connector. In the case where you are using this mixer inline between your radios and existing bag mixer inputs, this would allow the loom you make that comes from the Receivers in your bag (with a male D-connector on it) to mate directly with the loom going to your bag mixer or 788 recorder inputs (with a female D-connector on it) when you want to work in 'Bag Mode'. Assuming these looms were kept as short as possible, they could tuck away in the bag.
  18. 64 channels is the larger of the two standard channel counts for MADI. Many consoles used in the broadcast world would have one, or more, MADI streams going out to a recorder. This may be a little over-the-top for most on this board, but in my world (live concert recording/broadcast) this is extremely interesting. Seems way better than the JoeCo MADI or Dante 64 channel boxes, and about the same price. Way cheaper than ProToolsHD with a MADI i/o. I think it will be huge in the Reality production world too. It's ability to bridge the Dante and MADI worlds alone are an extra feature I need, and was about to spend about half it's purchase price on another product to do that. Time for a re-think...
  19. Just reviving this thread as a solution has become available to allow Yamaha 01v96 boards to use Rio remote dante preamps / stageboxes. Several of the earlier posts pointed out that this couldn't be done. Yamaha have now released a (Win 7/8 only) software app that controls all the settings of the Rio preamps. It's calle R-Remote and is available from the yamahaproaudio.com website. I have it running nicely on a mac, using Parallels to run the windows app in 'coherence mode' - it just appears as a floating window on the mac desktop, and talks out the same ethernet port that Dante Virtual Soundcard is using to feed Boom Recorder. I can also run Yamaha Studio Manager, controlling the 01v96 via USB on the same laptop. 01v96 sends it's 16 analog inputs via direct outs to the Dante network, Yamaha Ri8 remote preamp feeds inputs 17-24 on both the 01v96 and 2 macs running Boom Recorder. Having to control the remote preamps via on-screen knobs not really a problem in most cases. Obviously you need a little Network Switch - I'm using a Netgear 5-port Gigabit switch mounted in a little pelican case with Ethercon connectors on a steel panel.
  20. +1 for this. One of my clients has a Zoom H4n they want me to use for mp3 recording on their jobs (panel discussions posted immediately to the web) and I've had no problem with Balanced TA3F to TRS Jack connectors plugged into the xlr/trs combi connectors on the H4n at line level. I suspect if you went in on the XLRs the gain structure may be different. Cheers, nick
  21. Had one of these in a venue I used to work in. The CMS-9 has a fixed internal matrix giving L-R output on the 5-pin XLR. Nowadays there are plenty of L-R > M-S > L-R plugins available for DAWs that would give you the ability to vary the matrix balance in post so it's not that great a disadvantage over the CMS-7 with it's external matrix box. If you just want a narrower stereo angle than it is fixed at (less of the Side capsule), you simply pan the two mixer channels you are feeding in towards centre a bit. I remember it sounding much better than the Shure VP88 I had at the time (and still do, somewhere).
  22. I'm a FOH live sound operator half the time, and the other half, I'm recording or broadcasting live performances, so I see both sides of the coin. All the points that Philip and others have made are great, but there's one thing I'd like to point out. Apart from ground loops adding a buzz to their system that they don't have time to debug, the greatest concern most FOH people have when one or more Video crews decent on their show is RF problems. There are very few live sound situations nowadays that don't have Radio Mics - even in crazy bars. Once you are around a bigger show, such as an Awards show, or a Theatre Musical, there's vastly more than you might think. Sure, all the performers are on radio mics, plus IEMs (the live sound version of IFB), but there's also likely to be somewhere between 5 and 40 channels of wireless comms backstage (all on radio mic frequencies, and at a similar RF power), and wireless DMX systems controlling moving lights. In Theatre, there's often wireless 'reverse radio' links to speakers hidden in props on stage, and if one of those gets hit on, a crew member has to go onstage in the middle of the performance to shut it up. Go anywhere near a 'broadway' musical and there could be over 100 channels of wireless of some sort or another. Most live sound people use Sennheiser or Shure wireless, and may only have heard of Lectro, and probably not even be aware of Zaxcom. Sennheiser and Shure systems do not use Lectro Block and channel numbering. If you really must use any wireless, make sure that you talk actual Frequencies in your advance contact, and do please come with the ability to be hard-wired if there's an issue. Many one-person news crews we get turning up to Media calls don't even have a mic cable or know how it may be used! nick
  23. I also use a combo of a Sennheiser G3 transmitter feeding G3 receivers on cameras for hops and G3 IEMs for creatives. It works great, and then when I'm doing bigger multi-cam concert recordings, I just switch to the desktop IEM Transmitter and put IEMs on all the cameras too, with a stereo guidetrack (which Editors and Directors like for that kind of thing). It's so easy to hire more IEMs, too - from local PA hire companies. I've seen lots of them get dropped without a casualty so far. Bag range with the SK100 has never been an issue for me in doco style work - as a hop or IEM - although it was when I used them as talent tranmitters. Probably because the antenna is in the clear in a bag rather than up against a body.
  24. like Dante? Well, a little bit like Dante if you are wanting to get large numbers of channels into / out of a computer. The intent of the product is, like Wandering Ear said, to enable users to run Waves plugins on a console or DAW that doesn't support them by sending the audio to and from an external compute running SoundGrid server. DiGiCo are partnering Waves in this because they are losing users in the Live Sound world to Avid Venue systems, which does allow engineers to use plugi-in effects they may be familiar with from the Studio. To make this work, the SoundGrid system includes an Ethernet sound driver similar to the Dante Virtual Soundcard in concept, and they have several hardware converters from other standards, such as MADI, which could be used as an alternative to Dante in some applications. They don't appear to be concentrating as much on the large-scale distributed audio networking thing that Dante is pretty much the leader at, right now.
  25. you would put an 8 channel analog output card in the expansion slot, plus the four Omni Outs, giving you the 12 analog outs you seek. Then you assign all these to the channel direct outs, and set direct out source to be pre-eq. While they make many 16 channel digital expansion cards, they only seem to make the analog cards in 8 channel variants. There are several, depending on what sort of connector and whether you want to run the mixer at 96K or not. I also have a 12- way multicore made up with TRS connectors at one end and TS at the other, the TRS connectors are wired Tip & Ring to the tip of the TS end, giving you an unbalanced split after the analog mic pre on each channel when plugged into the Insert socket. I run my backup recorder ( Boom Recorder and an RME interface) off this for sit-down gigs. Depending on the load presented by the line input of the backup recorder, one usually loses less than 2dB with this in place. It could be a cheap way of getting going before you buy an analog card.
×
×
  • Create New...