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  1. 4 likes
    Ahem. I feel like should pipe in here. I’m not sure what you’re listening to but I can pretty much guarantee there is no distortion in the tracks that we delivered. Believe me, there is no way that the final mix would’ve gone out like that. I sat in Ron Bochar’s (our Re-recording Mixer) final mix at C5 a few times and I can reliably say that there were a lot of people in there with very good ears. And, for the record, my wireless for S2 were my (I now call them vintage but have since gone to all Zaxcom for S3) Audio, Ltd. 2000s, which always sounded as good as they get. Just my 2 cents! I’m glad you all are watching. Season 3 will be even bigger.
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    Rio Rancho, NM (April 1, 2019) – Bucking the trend towards making everything smaller and smaller, Lectrosonics is introducing the Big Series™ transmitters. The new BS transmitters boast multiple powering methods for extreme run times and a host of additional advanced features including language translation, on-board high-density data storage, fuzzy logic, artificial intelligence, a neural network, quantum computing, the Internet of Things and much more. The recently developed Multipower™ module allows a multitude of powering methods including three, four, or six D cell batteries depending on the model, and propane, kerosene, compressed air, and user-cranked flywheel. By offering these various powering methods, users will be able to ensure continuous operation even in remote, undeveloped and inhospitable regions of the world where standard batteries may not be available. Run time with 6 D cell batteries is 48 hours, and with one quart of kerosene or one pound of propane, the BS units can run for 12 hours. If the user cranks the flywheel once every few minutes, continuous operation can be achieved. To keep the weight of these units reasonable, Unobtanium alloy is used for all metal parts. By employing a neural network using quantum computing and fuzzy logic, the new BS Series transmits and simultaneously translates the incoming dialog or singing into multiple languages in real time with extremely low latency. The units auto-detect the incoming language and then choose the output language based on local area using GPS information crossed with a geolocation database. The optional MultiLanguageDiversity™ module enables multiple languages to be transmitted on several frequencies simultaneously. Latency for the translation and transmission is 0.001 ms. Information about the detected local language, translations chosen, GPS data and other information, but not audio, are stored on the BS Series units’ 20 TB solid-state drives on board. An IOT interface allows the units to be accessed by smartphone or other IP device from anywhere in the world. “We realized that we were limiting the functionality and flexibility by making our transmitters so small,” states Karl Winkler, VP of Sales at Lectrosonics. “People want features and so we’ve got ‘em in there! The large size makes just about anything possible.” Models available include the BSBP (3 D cell) and BSDBP (6 D cell) belt pack transmitters, the BSHH handheld unit, and the BSHM plug-on unit. Available to order now, pre-backordered to April 1, 2020. About Lectrosonics Well respected within the film, broadcast, and theatre technical communities since 1971, Lectrosonics wireless microphone systems and audio processing products are used daily in mission-critical applications by audio engineers familiar with the company's dedication to quality, customer service, and innovation. Lectrosonics is a US manufacturer based in Rio Rancho, New Mexico. * This text and image content is for Editorial Use Only and may not be used in any kind of commercial or promotional material or advertising without written permission. https://www.lectrosonics.com/US/lectrosonics-decides-bigger-is-better.html
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    Looking forward to the matching SM BS series backpack for easy mounting on talent.
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    I think Jim's suggestion is on point. I haven't been watching Mrs. Maisel but I've been seeing Mathew Price's name on credits for some time now. Among other things, he was responsible for the sound on The Sopranos. I think he did the whole run of the show. Moreover, I've been noticing audio problems on other shows that seem to come and go depending on what time one views the episode. I had considerable difficulty with some scenes in the recent True Detective episodes, especially with scenes featuring Mahershala Ali as an old man. Then I rewatched the show later viewing the east coast feed and found the sound much cleaner. David
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    If the antenna is actually touching the skin, you can lose much of your range. I put 1/2 of an ursa foamie around the end of the antenna to keep it away from the skin.
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    Yup, Constantin is right this will take some coordination. Try to get involved on a prep day so that you can setup and test the workflow in advance. You should also be paid for this day, the camera dept will be. Couple things from my experience with Reds and G3s to watch out for.... There is a good chance that the red, once fully setup with all the accessories they plan on using, will emit a huge amount of RFI/EMI interference that will swamp your little G3 receiver. To see this in action keep your transmitter off and tune the g3 to an open frequency. Now bring the g3 over to the red (powered up with all accessories running) and watch the RF meter fill up. I’ve found there’s just not much you can do about this. Placement can help a bit so experiment with that and sometimes a bad BNC cable or power cable is to blame. But I’ve found it’s almost impossible to get ACs to start swapping cables out that are working perfectly fine for them. Ultimately, it will probably work work fine because once you power up your transmitter it should still lock on as long as you don’t push it with the range. You just need to be aware of the limitations. A more robust receiver like a 411a would be better. SRs have also suffered with Reds in my experience. Red audio settings are irritating at best if you’re not familiar so give yourself plenty of time to fiddle with that. Depending on the model and input accessories available you may need to pad the receiver output down to mic level in the g3 menu. I usually have the camera guys put the “A-box” on and that allows me to use the standard XLR output cable for the g3 but you could go a few different routes. The biggest thing is to just make sure you have enough time to do all this and test and not try to squeeze it in just before they want to roll. For the playback back part I’d recommend finding a small powered speaker (Speakeasy or Foster) that you can connect to the monitor to boost the volume. An sdi connection from camera to monitor should carry your audio along with it as should a teradek transmitter unless it was setup to omit audio. Careful with feedback and make sure it’s off when not working. Unfortunately it’ll probably be up to you to babysit it. Lots of places and device menus to get bogged down on this one! Good luck.
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    Following the trend of lowercase topic titles ending with an exclamation mark where we discuss a new product announcement from one of the major manufacturers of recorders. Zaxcom Nova: https://zaxcom.com/products/nova/ Initial thoughts: Rado's experimenting with the OneUnit seems to have materialised into this. Not really surprised. Kind of a natural step for Zaxcom. Price point: 4995 without receivers.
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    Looks like Switchcraft entered the low profile XLR market this month, with inexpensive (~$8) pro-level connectors. They look lightweight and repairable, but not as low profile as filling a neutrik connector with epoxy. I ordered some and will report back after testing them out. product bulletin: http://www.switchcraft.com/Documents/switchcraft_npb_652_low_profile_xlrs.pdf
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    Sadly I can't make it this year. I actually need to figure something out for it because I'd love to get a table for people to get a demo. I need to find someone I can hire for a couple of hours and send them a salesmen sampler kit and a table cloth. Know anyone? I will be in Dallas that week meeting with new dealers and a trade show there. I will say when it comes to comparing different 2.4Ghz systems (pros and cons) it seems there is some miss-information about 2.4Ghz and other systems. 1) 2.45Ghz is not the resonate frequency of water. 2.45Ghz was selected due to space on the FCC allotted spectrum and industrial microwaves found in professional kitchens operate at 915mHz. http://www.schoolphysics.co.uk/age16-19/Wave properties/Wave properties/text/Microwave_ovens/index.html https://physics.stackexchange.com/questions/169362/why-do-microwave-ovens-use-radiation-with-such-long-wavelength 2) Not all 2.4Ghz microphones systems are the same. When it comes to high-frequency waveforms it's all about getting the maximum efficiency for getting the signal out of the antenna and the maximum efficiency at collecting the signal along with handling data drops. Based on what manufactures in the past have given their 2.4Ghz systems vs what they've given their UHF, you'll see that they've crippled their 2.4Ghz systems to create a tier system within their product line up. Azden XD-Pro : SMA dipole whips 4.85mw RodeLink Bodypack Tx: dual PCB fractal antenna 10mw Rodelink XLR TX: PCB Fractal antenna 8mw Rode Wireless Go: 3.5mw (unknown antenna) Sennheiser XSW: 8mw dual PCB fractal antenna Line6 Bodypack TX: 24mw, affixed dipole whip antenna Deity Connect: 100mw Dual PCB factual & Dual SMA dipole whips 3) Here is a breakdown of the Pros and Cons of 2.4Ghz and some of their protocols Pros- Bi-directional communication (can be) frequency hopping and (can be) automatic frequency coordinating Future Proof against FCC auctions Global Traveler 100% digital (can be uncompressed) Can allow for data re-transmission and buffer Cons- Smaller waveforms do have a harder time penetrating metal and dense surfaces like exterior walls Codec decoding can add latency Requires more wattage to get the same range as a lower wattage UHF system The frequency can be crowded depending on the environment (but so can single block UHF) It really comes down to what you need your wireless to do. If you're doing a lot of corporate, ENG, HGTV reality or travel documentary work, a 2.4Ghz system might actually fill all your needs. If you're doing a 20 person reality TV show or a multi-million dollar movie, probably not. I'd say personally 90% of the work I've done in my 15yr career could have been done with wireless microphones that only ever needed to transmit no more than 20-30ft away.
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    Just was thinking about your post when I saw this popping around in the Audio ltd users group 😁 (in case it is unreadable, A10 TX, made in Taiwan).
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    Avoid is kinda strong. There are good reasons for using narrower filters in a multicoupler, particularly as new cell phone usage starts up in the 600 to 800 Mhz bands. Your post pretty well gives the reasons for narrower filters. The 411A does a better job than most of front end filtering but that advantage is somewhat over ridden by any multicoupler, more so by wide ones with weak amplifiers. In a well designed multicoupler not only will the filters be only as wide as necessary but the internal amp will be low distortion at high input levels in order to not produce RF intermod products. This spec is commonly left out by some manufactures, as it is hard (expensive) to accomplish. Instead they will quote amazing noise figures which are easy (read cheap). Ideally the amp in a multicoupler will have low gain, low noise, and low distortion (a high third order input intermod number). As usual with things RF, these desirable traits are not easy to attain simultaneously. A really strong, low intermod RF amp can make up for wide band input filters, but the ideal is narrow filters and strong amps. Watch out for quotes of output intermod number. These values are always higher than the input intermod value and make for better numbers. What really measures the performance in a multicoupler is the input intermod value. A high gain, low power amplifier can have good output numbers but weak input numbers since the input number is the output value MINUS the amplifier gain, i.e., high gain leads to poor input intermod values but usually excellent noise figures. One way to improve the performance of a wideband multicopler, is to use antennas with built in filtering or inherent narrow band response. For instance, an SNA600 dipole has about a 30 MHz bandwidth. That is equivalent to having a 30 MHz filter at the input of the multicoupler. A Yagi antenna would be an even narrower bandwidth. Sharkfins (log periodics) have wide response so are not good "filters". Powered sharkfins with built in filters can help. Another way to protect a wideband unit is to put a low loss inline filter in front of the wideband multicoupler input and then swap out the inline filters depending on what bands you are operating in. As an easy example, the Lectro PF25 is a one block wide passive filter and the PF50 is two blocks wide. What the user would like to have is a wideband antenna system and a wideband multicoupler that does not introduce spurious signals (low intermod) and is usable for all possible wireless frequencies. As in most RF compromise, as the airwaves become more congested this dream is going to become a little bit of a nightmare or at least a nightpony. Best Regards, Larry Fisher All very true, though I would say, if it has an amp at all, then input intermod values need to be considered. I would like to see PSC measure and publish third order input intermod numbers rather than just an excellent noise figure. See discussion above. Best Regards, Larry Fisher
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    It is also not Aputure anymore. Same mother company, completely different team. Being sceptic/critical is healthy, nothing wrong with that. Although Deity Hire me from time to time, I am not an official spoke person for them, which is good, my opinions are my own, which I will give now: Loads of manufactures make the products in China, no surprise there. Deity is no different. Tho, the problem with most of the "cheap as shit" equipment coming from there, is lack of, well, how we call that, "vision", of what they are actually making. They just copy some "cosmetic" specifications of what is out there. For example if we take the topic of discussion here, they make also a 3mm lav, just because the competition does so. Indeed that says shit about how it sounds or the build quality, the cables they use or what not. Over a year ago they (the mother company) did a smart move, first by separating the brand and team from the light company. There is a dedicated team of audio and RF engineers working on the products now in china, as well as there has been set up a California branch. The CA/USA branch is being led by Andrew Jones. He is "one of us", an audio recordist/mixer/engineer, also a member of this board by the way. Most of the ideas come from the US team and they are actually the first critical beta testers. So to come back to the "vision", they provide that from the US, correcting the errors being made, going back and forth with ideas for revisions, etc etc. If I would take the liberty to describe the "mission" of Deity, is to combine the benefits of overseas manufacturing, with the vision of actual field users. This is nothing new or exotic, but not that common for our industry perhaps. Indeed the second part of that mission is to be affordable. Like I mentioned before, the Deity -3mm lav probably will not be a 1 to 1 exact replacement for a 6060 in therms of audible quality, but the aim is to at least make a more affordable alternative, without compromising on audio quality. As you see their product line they are in a split; are they for us "pro" audio engineers for motion picture/television or are they targeting the youtuber/videographer etc? Personally I think that whole 2 way thinking is kinda getting old school thinking. Like you mentioned before it happend to other industries as well, like the camera department. 10 years ago the DSLR's became a "thing", those are/were crap, but they revolutionised/evolutionized the industry, in the sense that after that lower cost higher image quality cameras came out with bells and whistles that we only could dream off before '09. It doesn't mean the high-end products are going away, but indeed the "lower end" stuff is not crap anymore. My point: I still have an old Sennheiser "video mic" from like 18 years ago, with a small coin cell battery and really crappy sound. That was at the time the only option for a "external" microphone on DV cameras. Now Deity has 2 mics out competing in this segment, sounding waaays better and more affordable. So that is obviously for the "videographer" crowd. But the same philosophy applies to the, let us call it the ENG quality line of products. We had 1-2 options for wireless (sennheiser G series, Sony), but everything cheaper than that, would be crap. So they came out with a line to do it well and price competitive due to aforementioned reasons. Same for the shotgun/hypercard/lav mics, well you get what I mean I suppose. All in all, personally I am pretty excited about this. Coming from a music background, we had this revolution/evolution in the 90's when I started out. All of the sudden the ADAT came out, an affordable high quality 8 tracker, lower cost preamps, mics, etc. I was always on the fence on why this didn't happen yet for our line of work. I reckon this was because the market is way smaller, but the fact that the camera department became more "democratic" in therms of price/quality ratio, paved the way to get that going on for the sound department as well. The SD mix pre series is the most popular device of Sound Devices, both in therms of units sold, as well as pure income for the company. My 2 cents, and my 2 cents only (again, no spoke person for Deity).
  14. 2 likes
    Since Jim Feeley asked: 1) My all-time favorite is an RCA 77 in good condition. I did a side-by-side with a U67 once, and the difference was amazing. U67 sounded like a good mic. 77 sounded like the actor was talking from the CR's UREIs. (I then had a chance to do a 7.1 IMAX track where the v/o is interrupted by a wisecracking stagehand - multiple mannikins with cued spotlights - walking around between the screen and the top of the dome. Used a U87 for the vo; 77 for the stagehand. He actually sounded live, compared to the announcer sound we're all used to from a good large-diaphragm condenser.) Of course the 77 requires a good room and high-gain preamp. Worth the effort. 2) For most of the 70s and 80s I standardized on AKG CK1 in my multiple radio spot rooms. The rooms had very good acoustics, radio doesn't need the deep lows of a large diaphragm, ad agencies hate long setup times, and the mics could be about 5" from the actors' mouths without blocking their sightlines, so two or three could look at each other while performing. (IMHO, radio production used to be a lot more sophisticated than most of what's on the air now.) (And we were winning a lot of Clios, Andys, and other awards.) 3) When I needed some large diaphragm condensers, I had my dealer give me a bunch to try out. I spent an evening with another engineer/voice, taking turns in the booth and then listening. We had sort-of settled on an AudioTechnica as being the best sounding, and then Dan came out of the booth to talk with me in the CR... and I realized it didn't sound like him live. What we were hearing was the mic's 'flattering' (aka distortion), which would lock us into a sound and could become fatiguing after a few long sessions. We went with the AKG 414 instead. 4) I've never used a long gun in a booth (except when necessary as a second mic when matching some ADR). 5) But I have used short guns a lot in some situations like ad-hoc booths. If you put it in the right place for VO, inverse square will lower most of the room effects. Just don't try to use it at boom distances unless you're outdoors or in a very good space. I also love using a short gun with kids. I sit them in a chair, so they're 'spiked' to the right position, and then mic them with a short gun from about 9" away. I put a Stieff stuffed animal on the mic, being careful not to block the directional holes, and tell the kid to 'talk to the tiger'. Not only does it give them focus; it also guides them to the right projection level, and stops them from "performing" for the mic.
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    From Gotham Sound:
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    I kinda agree with the critique on the size of the M+. A CL12 was about right for a rack mount based cart, which is not unlikely you have, for higher track count recordings/jobs. And the M+ is 8 track so if you you need a tad bit more you are at 16, over the width of a rack. Whilst the other way around, 19 inch width is ok to have like 12 to 16 faders easily. Loads of smaller PA boards out there that can cramp a reasonable amount of numbers on that space. This Presonus one is slightly over 19 inch, for example.
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    I have reserved mine, and I will tell you all about it!! My plan, currently, is to use it as I do my 788T, with my PSC Solice. I will buy the iCon to add faders when I need extra faders. I have little in-line device that reads the power draw on 12v 4-pin XLR cable. I plan to use that to power the iCon, so I will report back on power consumption. I will now have my 664 in the bag, my 788T/CL9 on a mini cart of sorts, and my Scorpio on the main cart. Can't wait!!
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    My education in digital audio is probably a bit outdated so I'd welcome some input regarding my comments below: "Recording 32-bit floating point audio files" seems pointless to me as long as the dynamic range of the analog I/O falls way below the dynamic range limitations of 24 bit. In these prosumer recorders this is most certainly the case. 32 bit Floating Point processing is useful once inside a DAW since it allows the mixer more leeway regarding gainstaging as long as the output is free of clipping. Some mixing engines boast internal headroom in the 5 figure dB range due to 32 or 64 bit processing but that doesn't change the fact that during acquisition the analog stage (including the A part of the AD converter) largely determines the S/N ratio. Putting a 32 bit converter after an input stage that can only handle moderate maximum input levels and exhibits a high noisefloor is not giving us the ability to record a wider range of dynamics. We seem to be living in an age where theoretical dynamic range moves one way (up) while actual hardware based dynamic range moves down due to cheaper front and back ends, lower analog reference levels ( 0 dBu being the "new" +4, etc). Just for fun put up an audio file recorded with the mic pres up halfway and no mic connected to the recorder, then gain it up 50 dB in your DAW. What you'll hear is hiss where theoretically there should be another 60dB of S/N under 24 bits theoretical specs. 24 bit resolution exceeds all but but the most over-engineered analog stages in any mixer so why bother with higher wordlength? I wish they'd go for better sounding mic pres instead. Just my opinion.
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    Yes, I hope they give the UI a major overhaul and leave the windows 95 era for good. I used to have a max and you do get used to it and even appreciate some of the features (like showing limiter ballistics) and utilitarian quality of it but yes it’s a bit garish and here in this nice looking piece of new hardware, a bit out of place.
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    I was hoping that they would step up their user interface design… I once considered saving up for the Maxx, but Zaxcom’s cluttered UI annoys me. It honestly doesn’t make much impact compared to, say, preamp quality. And I’m probably alone in my opinion. Though from paging through the Maxx manual, I can’t help but spot the flaws. An unnecessarily large battery indicator, using large words instead of ⏹ ▶️ ⏺ symbols for some reason, matrix icons that barely have contrast between toggle states, AutoTrim indicators that almost blend in with the black meter background, the addition of visual clutter when unarmed tracks are crossed out with yellow lines… I can’t imagine using a Maxx or the Nova without it confusing or annoying me occasionally. No offense meant to Zaxcom users who find the design works well or just fine, seriously, and not everything has to be pretty. But to my eyes, it pales compared to similarly-/lower-priced recorders from Sound Devices and Zoom (dare I say, even the F4 to some extent) that have more efficient and better-thought graphical user interfaces. For something I’ll use 12 hours per work day, I’m more inclined to invest in those recorders. Sorry for a rant, but hopefully it’s constructive.
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    Short answer- All things with lithium batteries, as well as loose lithium batteries, should be hand carried into the cabin. No battery quantity restrictions if they are under 100 watt hours. All loose batteries should have their contacts taped or otherwise protected from shorting. All fragile things that will stop your shoot if they get lost or delayed in checked baggage should be in the hand carried into the cabin. Make sure you pack your carry on so that it's not too dense for the scanner- or that you can easily separate the contents. Boom pole might get rejected at security so put it in checked luggage along with everything else that you trust can take a 5 foot drop onto concrete. Keep Cheers, Brent Calkin
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    Absolutely, but it makes no sense to me on a tv production. I need overdub to re-record one speaker after a take, where something was the wrong, but they don’t want to shoot it again. With overdub the actor can listen to him-/herself a few times and then record the new line directly into my mic. Basically a simple form of ADR. How would I do that with the MixPre? I would need to record everything on the MixPre as well as on the Scorpio, that makes little sense. And there’s normally no time to transfer everything to the MixPre. No, it needs to be in the Scorpio. That would be such an awesome feature. The Cantar X3 does it... just to encourage you through competition
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    Interesting re Great Canadian Baking Show...in the tent, I can understand what the range of challenges may be, but the interview singles are really odd. At first I thought it was a post issue, but upon listening to it again I wonder what boom mic was used for those pieces. Year after year, I am gobsmacked by the audio quality on the The Great British Bake-off, some of the best audio work of all the reality shows that I watch...I always figured that if I were to spend $ on a purely educational trip, I'd want to watch whoever does the GBBO.
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    They will, they're already on it. I can't find the link but I saw it this morning. It even got a name that fits …
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    1. HP gain will be available on our first supported MCU controller, the Icon. 2. Pretty simple request 3. There's dedicated arm/disarm buttons on each channel 4. There is currently an extra toggle on the Scorpio for Com1 & 2. There are user programmable buttons on the Icon. 5. We will up line gain to 50dB. Our bad! 6. From our FAQ: The Scorpio has a ton of functionality, include 16 full-featured (and full-powered) mic preamps. These, along with full 48 V per channel as well as two battery chargers means the Scorpio can draw a significant amount of peak current (the battery chargers can draw over 3 A alone). The 4-pin Hirose connectors are rated for 2 A per pin, which is not enough. Thus we went to the TA4 connector, which is good for 5 A per pin. Additionally, the TA4 delineates the connector on the Scorpio as a Smart Battery connector. 7. At launch, yes. Icon ticked most of the boxes, that's why we went with that first. Other's will follow. Banking is supported and includes motorized fader support.
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    Yep, two com circuits and a slate circuit and the ability to mute, duck or not mute program when a com is active.
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    This is really exciting for me. I've been considering a change to my dante system, one of the main things I want is to reduce the size from a full 16 fader console + stage boxes. Scorpio plus a controller will be drastically smaller & lighter, and much easier to fly with. Many design decisions in this recorder are right in line for me, TA4 for power instead of hirose, Icon M+ controller support, 32 Channels in a 688 form factor, redundant networking. Well done Sound Devices. I also appreciate SD's humor in their faq's.
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    The caps/grills for the DPA 6060/1 are available to purchase in packs of three for around £40+VAT. The product code is DUA9301-X. Swap the X with B for black and F for beige etc. Thanks, Nathan.
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    I think you should wait until NAB. If something new gets released, it'll have an impact on the used market aswell.
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    This really lights up my bullshit meter (no really, I‘ve got one). Many many great movies and series and shows have been produced with wireless systems that are not Zaxcom. Most of them without any distortion. Especially on a show like this, if there is any distortion the mixer would have heard it and just ask for another take.
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    Any card I have that records in the manner the OP mentioned goes in the trash. No 2nd chances with digital media.
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    I think it's an excellent sounding show done under incredibly tough circumstances. I don't recall hearing any distortion and think their sound team does a fantastic job.
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    Thanks for sharing. He seems to be a great dude, always willing to share his knowledge despite the somewhat asshole image he used to create for himself back in the 80s. With headphones you can hear the different rooms nicely. The video was probably done without a sound person (the pedals part demonstrates how not to place a lav for example), which is unfortunate given the subject. Is that a Lectrosonics screwdriver in his pocket by the way???
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    Buffoon Mode is a feature in the latest FW to make sure the caffeine levels on the operator side are correct prior to operation. So in a way your testimony just proved that it’s efficient!
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    You can absolutely do both jobs and have 2 meals if you want. I was a production sound recordist for many years before I started doing post as well, and found that doing post made me much better at production work. It is really helpful to know what can and what can't be fixed, to what extent and what the compromises involved are. Get your gear together, ask lots of questions and don't be put off by the other guys at the bar here. Movie sound is a field full of highly intelligent very independent people who have lots of opinions. But those opinions are just that--opinions. Someone above suggested the Gearslutz post audio forum, that's a good suggestion for the post side of things, as is the ProTools "DUC", as you probably already know. This forum is the best place I have found for real-world-tested production sound knowledge, don't be intimidated or put off from asking specific production recording questions here because someone didn't take to how you asked. This forum is searchable so try that for specific threads about the production gear you mentioned.
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    Its complicated, you need to know whether the recordist monitors M or matrixed signal, and then what are you sending to your boom op? Then on top of the that you have to decide if you are sending a matrixed signal to your cameras for guide track or just use M. M/S requires planning and discipline otherwise you have a mess on your hands because of the unnecessary complexity. If you can only record your matrixed signal and not M/S isos, this feels like a recipe for disaster.
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    It works, but not great. The plastic cap was too small for 6mm and I had to ream it out a touch, so the cable is in there really snug. I don't feel like it'll transfer excess pressure to the solder joints, but that said, it'll have problems sooner if it's really yanked hard compared to, say, Neutrik clamped to a 6mm cable. As far as regular back/forth movement of the wire across the connector, I don't think it's well suited for that, either. In that case, I'd build up some heat shrink to increase the angle of any turning. If concerned, I suspect a tiny zip tie inside would do the trick. I'm not worried, as I'd be more concerned about my mic if it got pulled hard. This connector is solid and lightweight, but nowhere near as solid as the big metal switchcraft AAA-series angle connectors or the neutrik versions, but it's very lightweight and quiet. Not swinging around a large heavy connector is a huge bonus, plus some big metal RA versions tend to rattle. BUT, I personally think it inexpensively fills a niche that I've been searching for. Besides the low-profile boom connector, I'm going to use these for patch cables in a small bag, and they should prove perfect for that use. I have very minor concerns about RF interference since it's not shielded the entire way, but it's only a very small section since the exposed wire is so short, and certainly no worse than a DIY neutrik epoxy connector. I'm going to rewire my booms with some 5mm quad-star shortly, and we'll see how that goes.
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    As John B. said, the DC converter circuitry in modern microphones is part of this. First-generation phantom powered microphones generally took the incoming 48 Volts and routed that through a high-value resistor to polarize the capsule. Those mikes generally had a single FET as their only active device, with an output transformer--miniaturized so as to fit into a 20 or 21 mm-diameter housing--that brought the output impedance down into the standard 150 or 200 Ohm range. Transformers that small, however, saturate rather easily, especially at low frequencies. They restrict the maximum output voltage and thus the maximum SPL of the microphone. More modern condenser microphones generally add an active output stage which is direct coupled, i.e. transformerless. That arrangement requires substantially more operating current, but also offers much better headroom, and greatly improves the ability to drive long cable runs. The DC converter that John mentioned improves the sensitivity of the microphone, since all other things being equal, the sensitivity is proportional to the capsule's polarization voltage, and those converters typically put out around 60 Volts. They're also almost a necessity in a modern 48-Volt microphone, since the increased current draw of the output stage causes a larger voltage drop across the 6.8 kOhm resistor pair in the phantom supply. Thus a microphone that draws 4 mA, for example (2 mA per resistor -> 13.6 V drop across 6.8 kOhms), actually receives a voltage in the low-to-middle 30s rather than 48. It would cause a major step backwards in sensitivity if such a low voltage were used to polarize the capsule. So: The original, analog version of the Neumann KMR 81 is one of the last remaining holdovers from their fet 80 series, which began with the KM 84 microphone in 1966. It features the older, simpler, lower-current, transformer-output type of circuit, with lower headroom (as a wild guess, maybe 6 to 10 dB lower) than it could have with more modern circuitry. It still does well for its age, though--it can put out about 900 mV (when lightly loaded) if it has to, for a maximum SPL of 128 dB (again, when lightly loaded). It's a nice-sounding microphone in my opinion. I don't know how well it does in high humidity, though; it's a traditional DC-polarized condenser, and for situations with any risk of moisture condensation, RF condenser microphones are generally considered more reliable. --best regards
  41. 1 like
    Well, not retuning exactly, it's more an instant re-clock
  42. 1 like
    Are we talking about the DPA MicroDot adapter? Because I find that to be very robust. It’s not much lengthier - if at all - then the soldered version. As long as it’s screwed on tight enough. I asked the German DPA distributor which type of connector they see more of on service, and they said both.
  43. 1 like
    I’m still early in the game and still building my kit, which means I rent gear often. However for short-notice gigs, overnighting rented gear increases my blood pressure two-fold and makes me terribly anxious. So I want to reach out to anyone in southern Michigan or northern Ohio willing to occasionally lend out their gear. I’m looking for current-generation Lectrosonics wireless, Sanken lav mics, Comtek IFBs, and whatever you use as camera hops. If you have comparable gear, I’d still be interested. If you’re able, please do send me a message or email to dan@dignacio.org. Best, Daniel Ignacio
  44. 1 like
    Ya don't think SD might make new accessories for this in the future? Maybe a Superslot-Dante rack thing?
  45. 1 like
    Yeah, that really bugs me too. A lot of people are going entirely AES in now.
  46. 1 like
    I would run 3 hardwired lavs and 3 wireless to keep it all in one machine personally but your set up will work too or rent something else for the day
  47. 1 like
    Yeh. My suspicion is in post. For example. The waves la2a plugin. If -20 isn’t observed it will clip as per analoge modeling. It’s easy to miss. Either way superb production and sound. Does this this show play on tv? On instagram. If u post a stereo mix from an iPhone it will post in mono. And in the process produce distortion. Post the same clip with an android and it will post in stereo and therefore no more distortion. Could be a bug with amazons streaming serviee. Im glad I’m only on season 1. This show is gold and can’t wait to watch the rest. And yes. I don’t envy the boom op on this show with all those one shot steadicam mastery. Very tricky sound production.
  48. 1 like
    I have many mics, but my TWO basic pairs are 2x 8040s and 2x DPA 4060s (actually more than 2 but statistically so for common use). I highly recommend the Sennheisers for sound, noise floor, size and durability, so I wouldn't hesitate to suggest them: a slightly tighter pickup pattern than some cardioids but that can be a good thing too as long as you know it's there. But I would also always suggest the DPAs as essential kit for SFX (or probably the new 6060s for the size and waterproof benefit). If nothing else, I would attempt to find a pair of used 4060s as an option as well as the 8040s: you will soon find out how often you reach for them - cars, rain, daft spaces, fast or discrete use. Best, Jez Adamson
  49. 1 like
    Hi Palmer, the static noise on the file that you describe, is similar to what happened to my 633 when it was very new. Occasional random white noise spikes simultaneously across all channels of the audio files, with no indication while monitoring the original recording. In my case it showed up on both the SD and CF cards, which were both recording 48k 24bit. SD said it was an intermittent problem in the main digital bus and quickly replaced my entire mixer with a new one. (it was under warranty at the time) Terrifying problem- I'm glad I've never seen it again on my newer 633. Cheers, Brent Calkin
  50. 1 like
    Rastorder makes one, and it will fold flat, but it's not inexpensive: http://www.rastorder.com.au/product_foldup.htm I think it's very, very well designed and worth the money, but that's a subjective call.
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