Equipment
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This has a 2 channel output for its 5.1 mix that needs to be decoded down. Anyone know absolutely if sending the same audio wirelessly from the top of a camera back to the mixer would still be able to be decoded? Is there another signal in the line that needs to be carried with the audio? I'm assuming it'll work but just thought I'd post.
Last reply by jason porter, -
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Ok, so It's not cheap, but these lithium polymer batteries used to power these electric motorcycles look like they would be ideal for Cart use. http://www.zeromotorcycles.com/shop/index.php?main_page=product_info&cPath=2&products_id=10 The bikes look cool too.
Last reply by John Moore, -
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Years ago I saw an article somewhere about a live sound company storing all its single-strand XLR>XLR cables on reels, instead of coiling them up individually and putting them in a box. I'm talking about lots of 25' cables, that go from mics to the stage box. Do sound companies still do this? Is it a good idea? Or too much strain on the connectors? As I recall, they simple plugged each cable into the last and wound them up.... It seems like a way faster way to wrap than coiling each cable individually... Does anyone here do this? phil p
Last reply by Philip Perkins, -
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This is a shootout I did with 4 popular LDC (large diaphragm condenser) mics placed in an array that allowed me to record samples into all 4 mics simultaneously. In the video I play each sample 4 times (one time for each mic), starting with a voice over sample, then a couple measures of each track from a mic check song I use to test new mics. The Key to the mic numbers is at the very end of the video, so don't go there if you want to remain objective. There will be a warning so you can turn it off. Large Diaphragm Condenser Shootout: Large Diaphragm Condenser Shootout: AT4050, NT2000, AT4033a, Sputnik Below you can link to a web page that has the 16bit 44.1k wave of…
Last reply by Chadfish, -
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I have a job with one, sometimes two, of these cameras. I know they have BNC in and outputs for TC. Anything odd that anyone has come across when jamming them from a Deva/Fusion? I was hoping to do a jam with a BNC cable as needed.
Last reply by Cloud Wang, -
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Hey Everyone, I just got a 788T and am wondering how you usually set up your boom op comm feed. I didn't realize when I bought it that it doesn't have the same option as the 552 as far as a private line communication option. It seems you must buy the $2,000 control surface (CL-9) in order to get any sort of private line comm to your boom op, and even then, I'm not totally sure. I got the 788T with the CL-8 controller. I'm thinking of just running my boom out analog 1, into a small headphone amp box, and then to my boom op. What are you guys doing? I had thought about also just making a TA3F to 1/4" female cable, but am not sure how annoying this would be to…
Last reply by Mark LeBlanc, -
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Having been ecstatic with my Neumann KMR81 shotgun for many years, when one of my favorite boom-ops purchased the Schoeps Cmit 2 years ago I've been impressed with superior sonic fidelity of the Cmit. I've been closely following posts and demos of Super Cmit and was convinced enough of the remarkable technology of this mic to purchase one and created a system (thank you Gotham Sound) with the LECTROSONICS D4 quad transmission system that not only allows complete interface and flexibility between the digital and analogue worlds, but also offered the means to additionally route the boom talkback mic wirelessly back to the mixer and still have an aux wireless channel availa…
Last reply by rich, -
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Hey All, So, looking at the manual for the Zaxcom first generation wireless (black with red LED's) I am wondering where to set the input level on the transmitter. It says the meter ends at +12 if I am reading it correctly, but that the limiter kicks in at +10. It also says not to ever let the signal hit the limiter (odd). So am I correct in assuming that I should set the level at 0 with tone at -20 on my mixer, but have the limiter on my mixer kick in at -10 to be safe? Or am I over thinking this? I have the job tomorrow. Any help is appreciated. I intend to just send tone and back off until I am save, but it would seem like I could accomplish this by just set…
Last reply by Paul Graff, -
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http://goo.gl/owI5Y
Last reply by syncsound, -
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I've read of a few guys/gals doing this with their Fusions and Devas - swapping out the smaller knobs/fader caps (whatever you want to call them) for the larger (but older model Deva) knobs. I always liked the knobs on my 442 - but the small ones on the fusion are not as user friendly to me. With the 442 ones, I can spin them from the top, rather than the side, which means I can easily turn 4 of them at a time with two fingers from each hand. With the Fusion, I seem to be stuck using a couple of fingers per knob, or my thumb from the side. For those of you who have swapped them out - do you find they making mixing/adjusting easier? -Greg-
Last reply by johnpaul215, -
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I just got my QRX100 back from Zaxcom with the QIFB option board installed. And for me the timing is perfect because I have a shoot next week that I will really be able to benefit from the TC and audio return back to my bag. Lots of run and gun with time coded transcriptions necessary. With the board installation there was a software update done to the QRX. So now the unit has an IFB option menu that controls the option board functions. This menu has TRX transport controls, a IFB frequency selection page, a TC generator / jam page, a frame rate selection page, an IFB audio mix options page, audio input and output trim controls, a selectable audio delay, as well as other…
Last reply by Derek H, -
Anyone have any good tricks for fixing this issue......gah this sucks lol.
Last reply by Zack, -
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can anybody explain this phenomenon? Attaching 744T to same power source giving me worse range on 200 Lectros.
Last reply by gpiegari, -
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i'm pulling the trigger on a 552 next week. i've been looking over all of the provided pdf's online from SD to get myself ready for it. This thing is going to be leaps and bounds of crazy tech goodness compared to my previous M4mkII. So i'm wondering if any of you 552 users have any "heads up" or tid bits of helpful info for this 552 n00b. thanks!
Last reply by Derek H, -
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I'd like to get a case for a mid-sized audio console that isn't going to fly or be toured, just used locally by me. So far all the cases I've found are standard ATA types, which weigh as much as the board. Since I have to hump this thing by myself I would love to find something lighter, at the expense of air-ship type ruggedness. The console is 40.5 long, 22 wide and 5.5 high. Any ideas? phil p
Last reply by John Blankenship, -
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- 4k views
Anyone have any experience with the S-Series? Hate em? Love em? Indifferent? Tried doing a search, but not too many results. I'm looking at one of these for a Sanken CS-3e I have a normal Rycote softie, as well as a Rode Blimp - but am trying to find something smaller in size than the Rode (something that fits into a backpack for doc style gigs). I'm strongly guessing it won't handle high wind, but at least be more effective than the softie. Thanks, -Greg-
Last reply by Twade, -
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Hi , I am experimenting with the regular cos11d and the red mark cos11d for my trx900LT . What do other mixers use most ? I have found the regular cos11d to be a little on the hot side and have the trx backed off to about 8db on the level indicator . The red mark seems to me to be a better match even for normal to low level dial . I have yet to try the B6s . What seems to be the consensus on these ? the regular ones or the attenuated B6s . Regards Tony Johnson
Last reply by Tony Johnson, -
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I just discovered that Sennheiser makes soft replacement velour earpads for the HD 25: http://www.sennheiserusa.com/serviceandsupport_part-finder_cushions_069417 I did a little searching and I didn't find any posts about them on jwsound, so I figured I'd share. Personally, I'd really like to try these out. I bought a pair of HD 25's years ago and immediately had to return them. The out of the box with the stock "pleather" earpads they gave me a headache within 20 minutes because they squeezed my head too tightly. I'm thinking that maybe with these they would perhaps be slightly less tight, and may work for me now. I came across these earpads because I was reading…
Last reply by nickreich, -
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Now, here's the thing, I need some advice, I want to buy a new pole, but can't get to any dealers to handle them, as I live in the frozen North. One dealer I know has the PSC Elite in stock, with the internal coiled cable, and another dealer is due to get the K-Tek Klassic and Avalon in stock soon..... (both with internal coiled cables) Price wise there's not much in it, I'm after one that extends to 9 feet, so both manufacturers have a model to suit. I'm impatient and might get the PSC, but does anyone have any comments, positive or negative about either pole. Then again, I might just buy another Ambient, the one I've got is ten years old and going strong......
Last reply by Doug Osborn, -
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Hello, I am playing around with the cart, and am looking for a better solution to run laptop/iPod 3.5mm into a single XLR input on the board (summing L/R). I'll take advice as simple as making a 3.5mm TRS to XLR cable, or going through something like... http://www.fullcompass.com/product/368970.html What do you think? Robert
Last reply by Matthias Richter, -
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- 617 views
http://www.wired.com/rawfile/2011/02/josephson-microphones/?utm_source=feedburner&utm_medium=twitter&utm_campaign=feed%3A+wired%2Fkyfh+%28wired+raw+file%29&pid=697&viewall=true
Last reply by miker71, -
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http://proaudiocoalition.com/index.php/cdolan-pac/story/my_lav_mic_has_a_first_name_its_o-s-c-a-r/
Last reply by syncsound, -
- 4 replies
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I am presently using Sound Devices timecode sync cable XL-LX to jam slates, etc. Description of the cable from the SD website: LEMO®-5 to XLR-M and XLR-F cable for time code jamming of audio and video equipment with XLR connectors; for SMTPE time code; 25-inch to XLR-M, 14-inch to XLR-F Occasionally I find that I also need to jam a Denecke SB-3 box. To accomplish this I've been unplugging the SD cable and plugging in a dedicated Lemo-to-1/8" cable. However, with the layout of my cart, it's a real nuisance to plug and unplug the lemo connector on the recorder. I'd like to solder up a pigtail that would just be XLR to the 1/8" connector used by the SB-3 and leave…
Last reply by RPSharman, -
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- 1.8k views
I need a good studio mic for voice over work. Any suggestions?
Last reply by Christian Holm, -
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- 18 replies
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what do you use for screaming talents when you still need lavs? I find that with my TRX900 and DPA4063 I smtimes run into the situation where I need to bring down the gain to "0dB" and still get to high levels. Is there any inline attentuation available? The other thing is that although the DPA4063 can handle SPL up to 138dB before clipping (specs) I often have the feeling that it might not be the mic input of the TRX but rather the lav itself that is distorted. With a B6 - do you use the red (-10) version for screaming or even the blue (-20) one? Matthias
Last reply by mikewest,
