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  2. I am the person who approached him about making a simple version that could do Sleep and Unsleep and Rec on and Rec off. Many times when I am strapped into ENG mode my hands are full and I wanted a quick way to use the 2 most common RM commands I use. I have been using it very successfully the last few weeks. I also wanted a way to Sleep and unsleep without pulling my phone out on certain jobs where clients ask us to not use our phones on set.
  3. It's not definite yet, but most likely each room (3) will use 3 projection screens to display visuals and a pair of loudspeakers for stereo reproduction. I'm pushing for multi-channel sound, but it looks like this isn't a priority for the folks creating the budget... However, a gig for later in the year (if distance restrictions ever lift sufficiently for filming of crowds) will feature Saxon battle scenes; the director wants immersive sound so I foresee renting a Soundfield - or possibly a double MS rig - come the time. Fingers crossed.
  4. Working great so far. This is probably a no due to Apple restrictions, but is it possible to bypass 'silent mode' and still play the tones? Also, as a suggestion, could you some how integrate FreqFinder to push custom freqencies?
  5. Today
  6. If so then well done. I doubt I'll get an Apple Watch, but many mixers I know have them and everyone (that's everyone) uses the phone version of your app.!!
  7. I have figured out a way to fit Audio and Frequency in the Apple Watch screen. Take a look at the beta: https://testflight.apple.com/join/d9aopgN6
  8. I realy like my RSM in most Situations, nice Soundstage, i use it mostly for classical music recordings and ambiences...
  9. Thanks haifai and Jez - some good, pragmatic thinking here; feel a bit dumb that it didn't occur to me that strapping an alternative fig 8 to an existing MS shotgun is an option 😂 I have access to a RSM 191, so will take the opportunity to play around with that and also rent one or two options to inform myself of what's possible, as haifai suggests. Thanks for the tip on trying a sub cardioid, Jez - again, I'd just assumed a vanilla Mk4 capsule was 'the thing' for the mid signal. Really glad to have found the forum!
  10. What are the hardware restrictions – and more specifically how will sound be presented to the audience?
  11. we advise 4, but technically it can be higher (some use it with 6 channels). We also are sending a back (remote controlling) over a different channel. So that let us say, 4 channels of TX, means 8 channels in use. The US has 11 channels legally available, EU 13, Asia up to 14, depends where. No Ah gotcha, will forward your user request. As of now no. The whole Connect series is stereo/2 channel. The HD-TX, BP-TRX record stereo, the BP-TX, HD-TX & BP-TRX transmits a stereo signal. I see you are in Hamburg Germany; I consulted the local branch of one of the German national public broadcasters; they use a couple of connect kits at the moment for a stereo camera hop. One BP-TX in the audio bag, a Duo-TX on camera receiving a stereo audio feed from the sound mixer. The new BP-TRX will do the same, yet since it is just for one TX, more portable and convenient for on camera. Disclaimer; I am talking a bit from top of mind atm. All this said; we are close to finalize the production versions, I will receive the engineering prototypes soon, so I can give you some really detailed explanations, and how to's as well how it will work exactly. give me a week or 2 😉.
  12. Thank you to everyone for their thoughts - it's really appreciated. It doesn't have to be MS, but having played around with the technique (after years of assuming XY was the 'only' way to record stereo) I've really fallen for the possibilities it offers. What would your preference be for ambiences, Constantin? By way of context, I'm currently working on a museum installation which will rely heavily on weather / outdoor + indoor environment ambience for its sound design and I'm intrigued by how stereo image manipulation might play a part in the final result. I'd initially considered going down the Ambisonics route, but hardware restrictions at the museum meant there'd be no benefit from doing so.
  13. Thnx again, Great, I found it. - Do I understand this right?: There is an RX mode only 1 unit may be in (per Deity TX, for reasons of tech/ergonomics) and an IEM mode, additional 3 units can be in receiving the same TX. The modes perform equally (in terms of range/reliability/latency), the only other difference is the output configuration (pin assignment/voltage levels/impedance/whatever) to serve a mic/line input vs a headphone. The use case for multiple units outputting mic/line is not provided. The camera hop mode is concurrent to the RX mode, as in: 1 TX cannot serve 1 unit in RX mode + 1 in camera hop mode. No. How many TX/RX could reasonably be operated within that system in 2,4Ghz silent environment and in a WiFi crowded environment? Could the TX "listen" to that LTC and display it on screen? I don't fully understand that. The Duo RX already is a receiver with a headphone option out. One may wish to operate more than one Duo RX on the same TX. Ok, now I am confused completely. The BP-TRX has a stereo input e.g. for stereo recording but transmits and receives a mono audio signal, correct?. In camera hop mode, it outputs mono and a previously synced TC on the TRS. Where is the second channel coming from in IEM mode?
  14. Yesterday
  15. There is one on the Connect kit user page, scroll down and click on support. The site is in overhaul at the moment and the rest will be added to the new one. We do not use the traditional audio to RF conversions/transmitting (be it analogue with a compander, or digital wise) you can compare our way with a digital SDI video transmitter; As written above, because of the tech we use, we are limited to a max amount of bandwidth, just like aforementioned SDI transmitter receiver systems. So it is UP TO 3, which obviously means also 1 and 2 IEM's will work. No. That is the idea from the get go; all units in the Connect family will talk with each other. If I understand you correctly; the jammed or generated signal is already displayed on the screen. If you wanna use a BP-TRX kit as a wireless (audio) LTC transmitter you can do that, although it is worth to mention the (jammed) TC drift will be off less then a frame in 24h, on par with the systems out there. If not rec run, you can just Jam every IEM with the master TC and use the stereo/2 channel audio as a scratch feed . For Rec run you have to go (audio) LTC yes. I have to get back to you on that. I don't fully understand that. The Duo RX already is a receiver with a headphone option out. Design concept; you boot the unit up in the desired function, so the menu and input/outputs correspond with that what is needed for the occasion. Failure under warranty is always on us, no matter what, and will be done by us, to fulfill the rest of the warranty time. Outside warranty it is surfacable by us, the dealer, or we can send you over a replacement kit. It stops ("card full" notification, also you can see on the RX that it stopped) but I will forward your idea because it is a good one. I also will also forward this idea as a "user request" 😉
  16. The CAL lights were on due to a setting in the FADERS menu. The ALARM light was due to the inputs set to digital and I was not giving them a digital signal. I also have the service manual.
  17. The usual Deity TX can't be paired with more than one RX But IEM mode allows more. I'd imagine it is a bandwidth limitation. Just like how RodeLinks can't have more than 8 pairs in total. And Deity Connects can't have more than four pairs in total?
  18. Thnx for your explanations. Supposing you mean https://www.deitymic.com/support/downloads/,I can find manuals for 5 mics or so, mostly discontinued, but none for TX/RX devices or most of your current products as of now. Do I look at the wrong place? - I still don't get it. What is the advantage for RX over IEM mode? Reliability? Can it request re-transmissions more than the IEM mode? Do they have the same latency? - Why 3 IEMs, not 2 or ∞? - Does the performance decrease with each added IEM? (And while we are at it, does the performance decrease when adding more pairs of RX/TX?) - Can IEM mode receive/output a signal sent from a HD-TX or BP-TX (in their current or possibly future firmwares)? - Could 2 BP-TRX transport TC from TRS to TRS and/or display it on it's screen? This could be very useful in playback and "rec run" situations. - If I would want to feed up to 3 cameras with (rec run) timecode, would I just send it via the audio channel and have all RX on cameras in IEM mode? Some more general questions: - Could a RX + rec + TC mode be added in the future? (to receive and record a HD-TX with TC? - Could the DuoRX have an IEM mode in the future? - Are the different boot modes due to the nature of some of the hardware or is this part of the user interface concept? - Is the battery user serviceable under warranty (or beyond more or less as easy as a modern smartphone)? Thnx P.S.: - Does the recorder just stop recording when the SD card is full, or is there an option to overwrite the oldest takes? - Could there be an option to start recording as soon as it is powered on (or when it receives power via USB or timecode wirelessly or via TRS)?
  19. Did you find out more about the LEDs that are permanently on? I have the service manual in case you need it...
  20. What playback situation are you modeling? A phone? Buds? Laptop? Big home theatre? Festival real movie theatre? A TV? Which one do you care about the most? My advice is to pick a speaker you like, that is a mainstream brand (like JBL etc) then learn how what you hear on it translates elsewhere. This takes some little time....
  21. Does it need to be MS? I think for ambiences there are nicer sounding setups and for fx the side is probably mostly not really needed as Jez mentioned above...
  22. Aloha, for many years I have used Sennheiser MKH 30/40 mics for MS recoding. They have always been great for getting the desired results. For my use the Audio Developments Matrix box gives me the flexibility to adjust the total MS pattern, opening up or reducing the overall polar patterns needed.
  23. Hi Al, and welcome to JWS You may well end up here with a dozen or so testimonies from people saying they get great results with their Schoeps pair, their MKH pair, their Sanken, their RSM, shotgun front end, omni front end, etc etc etc. It's a wide and variable question to advise on and most opinions are going to be valid in their way - so good luck in advance! Hey, here I am! Personally my MS / MSM rig is variable based around a Schoeps Fig 8 constant (purely because that's what I have) and I concur with haifai that you should leave yourself the choice for variation. Even if you did pick up an 'in one' MS mic like the RSM there is nothing to stop you strapping a different front capsule atop the fig 8 position whenever you wanted to. For ambience type recordings a subcardioid capsule is often popular, as it can be for musical applications. Halfway between the benefits of omni and cardioid. For fx recording of a 'specific subject' rather than soundscape anything from cardioid to short shotgun. As a sound effects editor I rarely use the side aspect of a MS recording for film tracklay however and even more rarely would record fx in MS: I would just dematrix it if necessary and use the mono front end. Broadcast, radio, podcast, music etc as well as ambisonics is a different thing though. I have to think though that as a starting off point for a general MS rig you cannot go wrong with 'cardioid front, fig 8 side' but the best advice is already in the reply above mine - try a few out and decide what suits your needs best Jez Adamson
  24. Depends how „shotgun“ the shotgun is... with mkh 416 or cmit i feel to much seperation from the laserlike mid signal, but its a compromise that is working O.K. I prefere the soundstage of RSM 191, Gefell M310/KM120 or KM140/KM120, but then i sometimes miss the „reach“ to isolate certain sounds/voices... Rent it and check by yourself... Normaly i prefer two SDC solutions as i can swap the mid mic for my needs between shotgun, hyper or card...
  25. As my Nagra V is now faulty, I thought I'd take a look at my Nagra D. It came from Richmond Film. It came with a flight case, soft case, power supply/charger, 2 audio attenuators i/p cables and a time code i/p o/p cable.
  26. Avantone MixCube is a good option - powered, sealed box unit, it's not a faithful recreation of the Auratone, but does a great job of giving the listener a real focus on the midrange of whatever they're listening to. You can buy in pairs or singles. Build quality is good - I've been using one for the last four or so years, no complaints.
  27. I was going through this thread and reading about the history of the SN. Came accross this link http://tinyurl.com/zfkoptz It mentioned me in it, though my first name was spelt wrong!
  28. First time poster - please excuse the ignorance... I'm looking to put together a MS rig to capture ambiences and occasionally sound for use in special effects / sound design - dialogue recording is not the goal; the main requirement is a rig that's suitable for interior and exterior recording. My question is, should I only be looking at setups consisting of two separate sdc mics ( most likely choosing between a Sennheiser MKH or Schoeps CMC6 set) or would a shotgun MS mic (currently considering the Sanken CMS-50 or a used Neumann RSM-191) serve me just as well? Whilst researching forum posts I get the sense that the shotgun approach should only be considered if recording dialogue is necessary - for anything else only a two (separate) mic approach is appropriate. Have I got the wrong end of the stick? Is the shotgun option a 'no compromise' option? I'd love to hear any thoughts or advice from forum members. Thanks!
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