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glenn

Zaxcom recording wireless at work

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glenn   

I wanted to post a link to this video. It was recorded with 30 Zaxcom recording transmitters and ZFR recorders. Each track was synced via Zaxnet and was verified with wireless QC.  Each transmitter/recorder was switched on and the show began. All tracks were taken from the transmitter/recorders recorded cards and combined in protools.

 

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drpro   

Here is one about five years ago done with two Lectros and DPA's.

In fun though.

I fear producers will just rent a number of recording transmitters and give them to a PA and says we will take care of it in post!!

 

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23 minutes ago, glenn said:

https://www.youtube.com/watch?v=JXUvYsgjsFE

I wanted to post a link to this video. It was recorded with 30 Zaxcom recording transmitters and ZFR recorders. Each track was synced via Zaxnet and was verified with wireless QC.  Each transmitter/recorder was switched on and the show began. All tracks were taken from the transmitter/recorders recorded cards and combined in protools.

SLAMMIN' WONDERFUL!!!!   A tour de force in all ways, including technical!  Who did this? 

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VAS   

I hope the guy behind Pro Tools, has vacation time of one year. Including free cocktails. Haha
Nice Glenn! Do you know which microphones being used for this?

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glenn   

John Dequino was the sound mixer who put this together. The unique thing here is the use of the Zaxcom virtual multi track recording system without the use of any wireless or centralized multi-track recorder. I think it was DPA mics in use but I will ask to be sure. Because all transmitters got time code via Zaxnet the protools part was just an ordinary mix job. Did not take any extra time to mix.

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I think the point of Glenn's post was that with the TC stamps working the PT-driver would just have to snap all the tracks to their original time-stamps and start mixing.  I'm sure there were lots of ducks and bumps etc in the mixing of it, but not that unusual for a classical music mix.  I'd more like to know who ran the show on location--set up all those TX and ZFRs, miced up all those players and got it all going, then managed and packaged all that data for post!

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6 minutes ago, glenn said:

John Dequino was the sound mixer who put this together. The unique thing here is the use of the Zaxcom virtual multi track recording system without the use of any wireless or centralized multi-track recorder. I think it was DPA mics in use but I will ask to be sure.

It's a great illustration and use of the technology for sure.  Did Mr. Dequino have a way of monitoring as they recorded?  How would he have listened to each recorder on its own to make sure he had a good mic placement?   Did he mix down the TX output live for a scratch mix for the cameras?    How many takes?  How "guerilla" was this--like were they permitted or is this really a completely unofficial event?

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3 minutes ago, Jason Todd said:

I know John has 2 RX12's so he was probably able to monitor most of it. 

Cool.  I mean, I figure with a setup that's this big a deal a director etc might want to listen as they rolled...    This deal is going on my List Of Jobs I Wish I Was On.

And congrats to Glenn!

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glenn   

John used the wireless QC function with an ERX3TCD  to monitor the audio quality of each instrument after it was placed on an instrument. Holding the receiver a foot or two from the pack would not disturb the talent yet allows for a hard wired monitor of each track before the performance. There was no live mixdown. With neverclip in the packs and no limiter or compander distortion the system is much less in need of the traditional monitoring necessary in a multi track recording. I believe they had to do it in one take with no  setup in the station as I do not think there was any official permission to do it. (could be wrong on this though)

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Makes sense. I did something similar, although on a smaller scale, for the documentary Rats. We had to steal some shots in Vietnam so I used recording transmitters in record only mode and I wore a recording transmitter with a DPA lav in a baseball cap for ambience. Listened off an ERX in my pocket with earbuds when wiring people up and would occasionally walk by talent while filming to make sure the mic still sounded good. Worked great! In the final product, you can tell the switch between the A7S that we shot on in Vietnam vs the Arri Mini we used for the rest of the film, but the sound is consistent throughout the film. Good stuff and it totally saved my bacon. We were supposed to be able to bring our whole sound and camera package but that fell through, so we had to scramble. We were flying in from Cambodia, so not chance of getting other gear. Luckily all my wireless was Zaxcom, so I just snuck in a few transmitters and an ERX into my carry on and was able to get on with it. Production was incredibly happy and grateful.

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Glenn, what's extra awesome is that I was able to program in multiple Zaxnet frequencies on the ERX. So I had each transmitter broadcast a different Zaxnet frequency and then could cycle through each transmitter on the ERX to QC them individually. Very helpful.

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On 16/06/2017 at 9:34 PM, drpro said:

Here is one about five years ago done with two Lectros and DPA's.

In fun though.

I fear producers will just rent a number of recording transmitters and give them to a PA and says we will take care of it in post!!

 

Was this done only with the street recording or was it a mix with some studio recording?

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