Mac recording software designed for production sound.

$30/month for 32 tracks.

ToDo:
- make a second page for the faders where they act as gain, that will also end up in the ISO recording.
- add password / secret keycombo for lock function

- whatever you like to see

Known issues
- dust in the panpots, it might crackle on turning. (no issues when in a fixed position)

in this setup, i’m using the interface along with a presonus digimax FS over ADAT, a set of ancient clockit boxes and a master controller. my inputs are nearly saturated, but i do have an AJA analog line-in-AES3 converter to add four more inputs if i absolutely need to. i didn’t need to arm LTC for recording in order to have it stamp my files, but some small voice told me to record it anyway (trauma from my first experiences syncing long documentary interviews and multicam theatre recordings? no, couldn’t be that).

Has anybody been able to program a DAW to work with LC8+?   I'd like to get it to work with Reaper....

thx,

j.

This is a bit long but worthwhile read to discuss.

Here’s the scenario. I walked into Gotham Sound and talked to Peter Schneider. My needs for an upcoming show were to be able to record dialogue and be able to do up to 16 tracks for music on a lower budget.  I was not able to afford high end ie $$$ like the Deva, Sonosax, Cooper etc, and I was rather leery about going the Mackie route.

Peter sums the system up in an email he had sent( he gave me permission to post it)

I think that the control surface is the future for location "cart" mixing. The use of Lemur on location was the first attempt at that, and resulted in http://www.lectrosonics.com/PressReleases/foodnet/foodnet.htm

The mixer you saw was Graham Gardner. How he came to be using the Behringer  came about roughly like this:

Nick Masiuk and I were talking about the failure of the Lemur as a "mixer" - no tactile faders (only virtual "multi-touch" faders). As a joke, we mentioned the Behringer BCF-2000 - the joke of course being that it was $200 to the Lemur's $3,200. Eventually our joking turned serious and we ordered one to play with.

Around this time, Graham came in the shop to talk about a "cart" style package with up to 16 inputs he wanted to put together, and asked if there was an alternative to the choice of either Mackie (cheap, and, well, "Mackie") and Cooper (great but expensive). We started talking about the idea of a control surface, and the Behringer was mentioned, and Graham took to the idea.

Among audio interfaces suitable for control with a fader surface, there is a hierarchy as follows:

1) It has to have an internal (DSP driven) mixer with hardware routing (ie no roundtrips between interface & computer app)

2) A mixer app has to be controllable via Midi (Metric Halo has MIO Console, RME has TOTALMIX)

3) Optional: runs on 12V

4) Optional: DSP effects on the chip like EQ, etc.

5) Holy grail: even away from the computer, the interface will respond to external control and act as a standalone mixer.

Masiuk and I each designed a controllable system at the Pro-Tech expo. My system stuck to the above criteria, and Masiuk designed the opposite system based around Apple Logic and Apogee, where Logic provided all of the mixing and effects, and routed the audio to MetaCorder  (2 concurrent apps running on the same machine). Masiuk's system was brilliant, but I felt there were too many layers.(Incidentally it does violate #1 above, but due to the tight integration between Apogee and Logic, and the fact that Apogee is an ExpressCard interface, Latency was next to zero).

My Pro-Tech system consisted of the Lemur with the Metric Halo 2882+DSP, and when we contacted them to tell them what we were doing, they invited me to their factory upstate. What they were (and, sadly still are) working on blew my mind - they're upgrading the 2882 so that it's basically the heart of a digital mixer, and they're going to make everything "touchable" by a control surface. Furthermore, and this is what makes them unique among computer interfaces, the +DSP model will have things like EQ, automixing, compression, etc, available to each input, and all DSP elements will also be touchable by a control surface, and eventually will satisfy the holy grail criteria as well.

… Imagine - for the same price as a Cooper 208, you can have the control surface, audio interface, software, computer, backup recorder, etc. This will be the future - it's essentially here now only we have dedicated hardware controllers costing thousands of dollars from Aaton and Zaxcom. When customers realize they don't need that, it's gonna be very interesting. Fostex is contemplating making the PD606 touchable by a control surface. I begged Rick to stick to an open standard - let Fostex sell a high quality control surface that works with the PD606 that the music people might buy as well, and have a PD606 that the end user can control with whichever control surface they want IF they don't want Fostex's design. We'll see if they "get it".

With Graham's system, we ran into a serious issue when controlling the 2882: although the first fader was smoothly controlled, each additional simultaneous fader could only move in a hurky-jerky fashion. His production actually "pulled" and so without much time, we switched to an RME FIFA400, with TotalMix having smooth control.

I cannot say this enough times: Graham is awesome. This is new, ground breaking, complicated shit, and he dedicated himself to learning the intricacies of this technology to the point of being an expert.

There are a number of lingering issues with his rig:

1) We all would prefer the Metric Halo. It's mixer console software is SOOOO much simpler and cleaner than RME's TOTALMIX, not to mention you get DSP and routing, so that one could record a mix and iso tracks with EQ and iso tracks without EQ!

2) We modified the Behringer to run on 12V DC, but Graham reports that it doesn't work correctly (it sends false midi messages), so back to the drawing board for us.

3) The holy grail is not realized with this rig - if the computer suddenly dies, the interface stops responding, thus fucking everything to the point where you'd probably call cut (I believe the levels stay where they are at least).

4) There is still a complex level of interaction between control surface, hardware, hardware's middle-ware (ie driver and TOTALMIX) and software app (in Graham's case its BoomCorder).

I have used this system of 6 weeks. The software and routing have worked well( once I figured it all out). I have the boom iso, mix the lavs to one track and have each iso as well, talkback with my boom op, enough channels for whatever comes up, 6 outputs to route whatever I need( L and R cam feeds, boom op, comteks, L and R for backup recorder.

Equipment:

New Macbook 2ghz ram

RME FF400

RME Octamic

Behringer BCF-2000 (midi into FF or usb)

Fostex FR2 with timecode

Boomrecorder

PSC Power station

16 tracks, 2 channel backup/portable recorder, DC power for everything for roughly $6000

He should be able to see my timeline video with timecode, hear (and maybe see) me, and be able record a local backup while I ju

Can anyone recommend some software or cloud solution?

Its ony a one time recording right now, so it shouldnt be too expensive.

I read about Source Connect, which is 35 dollars a mont and 75 dollar for setup.

And SessionLinkPro Recording, which is 26 dollars and doesnt seem to have a one time fee.

There used to be VST Connect as well but se website is down.

Any experience with those or any other recommendations would be greatly appreciated!

Check the "Want To Buy, Want To Sell" section for a link to my equipment sale listing.  I will be adding items, many of them custom equipment solutions designs over the near future.  My compatible portable rig, SD664 based, will also be parted and going up for sale soon.

For many years, my radio mic systems were Audio Ltd. based.  As the location frequency choices available in major cities lessened, I moved to Shure UHF radio mic systems after much testing.  At the time, the Lectros had too much latency and filedity artifacts and were, in my view, lower audio fidelity than both the Audio Ltd and high end Shures.  Because of the uncertainty of available RF space, the Shures were much more practical.  Having the Shure Workbench on the computer made location analysis and application preset templates easy to implement.  The Shure high-gain adjustable antenna and RF distro amps work very well for reliable radio mic work, both protably and on the studio production cart.  I have used DPA lavs for many years.

Let me know if you have any equipment needs or questions.

Nelson Stoll

nelson@stollaudio.com

Check the listings, descriptions and photos!

www.stollaudio.com

Has anyone found one?

configurable via “Dante Controller”: 

• Encoding (audio bit depth) :16,24,32 

For a very small closed network if I needed to set a mic pre where i couldn’t get to it later  and use say a lower mic signal and my device outputs 24-bit AES3 

If my Dante network is set to 32 encoding would that allow makeup gain after Dante to be any less noisy since the Dante transmitter & receiver would both use 32-bit ?

Even best-case scenario in a anechoic chamber (quieter than a studio…)

also does anyone know if Sound Devices 8-series accept and process native Dante 32-bit fixed PCM data? Or will 32-bit integer data be truncated to 24-bits from Dante before the 8-series internal 32-bit processing?

Has anyone done this with other DAWs and and Dante running at 32 encoding?

Can anyone recommend a simple, small, lightweight interface that would accept 8-12 channels of AES audio from an external source and output to USB or Thunderbolt?  It does not need to do anything else.  Thanks in advance if you've got any ideas...

  What are disadvantages of recording multitrack directly to a smartphone via an audio interface like RME Babyface instead of a dedicated recorders like Sound Devices or Zoom? 

I understand synchronization won't be an option as phones won't generate sync code. What about other aspects? Reliability etc? 

Has anyone done that as a sound mixer for film? 

It seems to be a game changer for eliminating all types of background noise from a Microphone input.

Sorry all you Mac fanatics, it currently needs an NVidia RTX video card and Windows 10 to work.

It is in beta and free right now but check out these video demos.

Ty Ford

Yes, I know I can swap the drives and then do a restore from Time Machine, but since I am going to open both machines up anyway to swap my 16GB of RAM out for the 8GB in the replacement, it would be easy to swap the drives at the same time.

And yes, I know that the new computer could have its own problems.  Researching that with the seller now.

Thanks for any thoughts.

D.

http://www.mini-box.com/site/index.html

This is DCDC converter for ATX.

I recently renewed the sound cart and wanted a 1U recording PC, so it might be just right.

250W modes has room to install 2 SSDs, 16GRAM and i5 8600T on mini ITX.

=====

if power supply for  mac mini 2018 has 24pin internal connector.

they makes  DC Powering Mac mini 2018 probably.

http://centrance.com/products/mp/

"At home or on the road, MicPort's compact, USB-powered design offers maximum audio fidelity and minimal system configuration. Protected by a rugged chassis, MicPort's low-noise circuitry preserves high-quality audio.

The onboard headphone jack delivers zero-latency monitoring via direct circuit. Mic gain and headphone volume adjustment couldn't be easier with MicPort's two conveniently located rotary controls."

Regards,  Jeff Wexler

I am currently renaming my company VOSGAMES to Pokitec.

I will be developing more products and I wanted a name that was less linked to "games".

Cheers,

    Take Vos

 Thanks 

Quote

"ITV went with DANTE over IP into a boom recorder."

I feel like something got lost in translation? I assume they mean "BoomRecorder"

For the curious about the lav mics:

 

Quote

The radio mics worn by the contestants have been upgraded by Canadian developer Q5X to be fully waterproofed and also rechargeable, saving the production the expense of carting around hundreds of batteries (there are two mic packs per contestant).

 

“In the first series we had some mics damaged by water from around the pool area so we worked with Q5X to refine the kit,” says Kruger. “Now a contestant could jump in the pool and the transmitters and mic capsules wouldn’t suffer long term damage plus we don’t have to deal with the often fiddly and unsightly aqua packs.

 

“Generally, they are worn on the arm or in a bumbag but we can also clip them onto floats in the pool and keep them at water level to continue transmitting.”

So many cameras, so few crew?!

 

Quote

“It’s quite remarkable that we can control sixty-odd cameras with just two operators when years ago that would have been unheard of.” Steve Kruger, ITV Studios

I'm looking for a smartphone app (for Iphone) and would like to know wich app is the best. It's mainly to record a lavalier mic (VT506Mobile).

I've found that iTalk can do up to 44.1 16bit, but I don't know if there are some differences in the capability of the apps? Or if the limiting factor is the smartphone?

What are you thoughts?

Thanks

Patrick