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  1. 2 likes
    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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    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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    A few notes to Eric: During the last 7-8 years I have acquired quite a few Nagras of different types, and I am impressed how well (nearly) all of them has performed, even when in a battered/ugly state. They are very, very robust and also mechanically relatively simple; not like in "crude" or straightforward, rather like finely tuned and intuitively built. I have only two recorders (a III with a disintegrating idler wheel and a water damaged 4.2), that I have put on the shelf without starting repairing it. The rest are functioning well, I guess that they would have the heads adjusted to function optimally, but the overall impression is that Nagra recorders rarely fail or behave badly. The Nagra 4.2 is, like many other Nagras, built around a very robust case with all the critical tape path mounted on an even more robust steel plate. If that plate is deformed (I have never seen one be damaged...), avoid the recorder. Apart from that, don´t be overly concerned about dents, scratches, rubber gasket melting; it is all part of the daily use of the recorder, and not necessarily a sign of real damage. And a ugly Nagra will be way cheaper than a pristine one... One thing is especially great: I have never had to replace any degraded capacitors in a Nagra. On most other devices of similar age (even Studers and other high quality units) , a fair amount of the electrolytic capacitors will have dried up and need to be replaced. In the Nagras, which were designed to be compact and reliable, wet tantalum type capacitors where used; they were expensive but compact and had an extremely long life time. So don´t worry about recapping (except the 1000 uF capacitor in the ATN supplies. Most are dry by now, but it is cheap and easy to replace it). If I was to buy a Nagra for "proper" use, I would observe: 1) Buy from a trustworthy seller. Not easy to know beforehand, but the ad text and photos give you a clue. Some sellers are thorough but very expensive, but others have a good balance between price, value for money and a serious sales material. Just to name one, I have bought things from Jörg Geidies (joerg_geidies on eBay.de) in Germany; he is a collector, but also a great restorer, and he is absolutely trustworthy. 2) Check the heads (visually). Nagra heads are quite hard, but all heads will wear out eventually. Don´t consider replacing the heads, they are quite expensive in themselves. 3) Have the seller make a demo video, demonstrating play, wind, rewind, playback sound and the general state. Keep an eye out for whether tape tension seems OK. Check that all available speeds work. If just one speed is correct, it might be a faulty power/motor control board, and they are really irritating working on. If the pinch roller is a yellow/brown translucent type, it is normally quite fine; if it is black, have the seller confirm that it is not cracked or hardened. 4) If 1, 2 and 3 seems OK, ask for a recording test. If it sounds OK, it is obviously a good sign. If the head parameters need to be adjusted, it will primarily affect compatibility with other recorders, so if it sounds muffled on a recording made on the same machine, I would be a bit worried. 5) On the recording, listen for crosstalk from the servo system. It gives an app. 1 kHz tone, that shouldn´t be audible. If it is, think about finding another recorder unless you are very well versed in Nagra repair. Here in Denmark, one 4.2 is on sale: https://www.dba.dk/spolebaandoptager-nagra/id-1054463116/ I don´t know the seller, but the recorder in itself looks like a typical 4.2: A little scratched, but nothing really serious. And it seems to have phantom supply on at least one input (often this is not the case). If you should end up with a faulty 4.2, don´t despair. The service manuals are very thorough and the components are often not hard to find; they used good standard components, and most components were available for many years.
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    I would not overthink MS. It’s great to have, if only to quickly record stereo ambiances. I‘d always record the S channel, but monitor only the M. Make sure as much as possible sounds good in the M, the S then is a bonus when it works. Aside from MS, you can also simply treat your S mic as a second mic. So in your situation where you 4-5 protagonists you can boom one person and get other on the S mic, which looks sideways after all. Just make sure that the two mics will not be matrixed to stereo
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    Hello dear people, I do realise this is not the most frequented category here, but having a go anyway. My name is Tanel and I'm moving to Mumbai on the 1st of May after working as a recordist/boom op in Estonia for 6 years. Looking for recordists who work in Mumbai to check the set life there as a boom op/assistant and meet some people and just take it from there. Have a look-see at my IMDB for some official credits and all. https://www.imdb.com/name/nm7483566/?ref_=fn_al_nm_2 If anyone is looking for help, please contact me on Facebook or via e-mail - Tanel Tänna, taneltanna@gmail.com Also, if anyone knows a guy or a girl who works in Mumbai as a recordist, give me a hand and tell me their name. Appreciate it! Cheers!
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    On House of Cards they did have two cameras. The booms were allowed to break into the frame, after a few seconds of plate. They painted the boom out later. As the show progressed, though, I could hear more and more use of lavs, so something must have changed
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    Im another convert to the M310 its a great mic..i now use it more than my mkh50..Richard
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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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    while I agree that the fix it in post mindset is often problematic, I can think of situations where recorder with dual ADC and 32bit float would be useful. like for example I've done some acoustic concert filming/recording as one man crew for friends, so I couldn't adjust the trims all the time, so I had to record at rather low gain settings where the quiet parts were recorded on very low levels while I still hit the limiters for the peaks. with a properly designed dual ACD 32bit recorder, I really wouldn't have to worry about this at all since the high gain preamp/ADC would capture all the quiet parts and the low gain circuit would take capture the loud parts and all would be saved in a file format that makes it impossible to clip or distort, no matter what I set the recorder level at, so it's basically set and forget (and even the set part is reduced to setting the mics and not the levels). of course there would be extra work involved in post, but even if I have my full attention on riding the trims during the performance, I'll still have to do additional levelling anyway and might even fight with the variable levels that are burnt into the recording. I also agree that we can make perfectly fine recordings with the current gear, but personally I think the main reason that prevents 32bit float from being useful is just the post workflow/tools are not established yet because the idea of having a recorder which can basically capture the full output range of any mic without any clipping or distortion sure sounds intriguing to me. chris
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    Been using one on the end of a pole for a week now. Much lighter and lower profile than the connector it replaced. Haven't noticed any issues I can trace to the connector, which seems pretty legit. Ran into one issue with humidity, but I believe that was the mic as other mics were fine. It was a little tedious to solder as you have to strip only very short lengths, then muscle the cap on. There's not a lot of wiggle room for mistakes. Also, I had some trouble getting thicker mic cable into the housing. I had to ream out the hole a little bit, but that was straightforward.
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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
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    The SPDR is Lectrosonics’ response to customer demand for a small, lightweight dual channel recorder for use on virtual reality sound captures or as a backup recorder for bag systems in the field. The SPDR allows capture of the full stereo audio of an extreme sport participant, in-car scenes, plant mics, or in situations where a wireless system isn’t practical. When used in conjunction with a small mixer and the SRC receiver, the SPDR makes for a lightweight interview setup that provides full redundancy - all fitting into a small fanny pack. For compatibility with a wider range of memory cards while retaining high reliability, the SPDR features a deep write buffer. The SPDR records to a Micro SDHC memory card in Broadcast Wave Format (.WAV with iXML metadata) and 24 bit depth, at sample rates of either 48 kHz or 96 kHz. The unit can accept inputs from analog line level and AES digital sources, or from lav microphones wired for standard Lectrosonics 5-pin “servo bias” inputs. The SPDR can be jammed with time code via an industry-standard 5-pin Lemo connector, and features a highly accurate, temperature compensated (TCXO) time base crystal. The clock is accurate to less than 1ppm. The SPDR (Spider) runs on either internal AA batteries (over 20 hours on lithiums) or from external power via a built in battery eliminator. The record button features a small dimple for tactile feedback when starting recordings without removing form the bag. A unique set of dweedle tones can permit remote control via the audio chain. We are shipping units now and have units available on the shelf. Several dealers have units in hand. The machined aluminum housing is in the same extrusion as the LMb and slightly longer (0.65") at 3.9" high. It can take the a wire or clip style belt clip. https://www.lectrosonics.com/US/SPDR-Stereo-Personal-Digital-Recorder/product.html You asked for it! You got it! Gordon
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    Regarding the 32-bit vs 24-bit (as well as recording in higher sampling rates), I always like to quote the following article: https://people.xiph.org/~xiphmont/demo/neil-young.html Specifically, the paragraph below: While I think the idea of 32-bit float recording is nice in theory, I also don't think it's a necessary feature for production sound recording. In fact, it may create more confusion and issues in post, particularly when the AE ingests our files and syncs them, and they see that dialog ins't gain staged as normal (or at least it wouldn't look good if I'm having to explain why gain staging properly didn't matter since they're 32-bit float files to the producer and/or editor who are calling me inquiring about them). 24-bit provides enough dynamic range to capture the entire usable dynamic range of any microphone (from above its self-noise to its Max SPL). IMO the only place where higher dynamic range (and higher sampling rates) is really useful, is in post, for DSP. I'm sure for consumers and prosumers alike, the idea that they can record in 32-bit float files and not have to worry about properly gain staging during recording (the whole "fix it in post" mentality) may sound like a great thing. For the rest of us (or at least for me), I think while cool, not really needed.
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    I just pulled the trigger on some B3s to replace my very used MKE-2s, as in "used on Broadway and then retired" kinda used. Looking forward to minty fresh mics! For the gigs I'm doing the B3s should be fine at half the cost of the COS-11d.
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    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.
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    I am in line to find this out. Just completed my order for a nova and 2x 212's. Now the wait begins... this thing crosses of a lot on my list when it comes to my particular workflow. Hoping this all in one unit really does the job indeed time will tell. I should be able to give some input on these exact scenarios above - qrx whips vs mic plexer vs dipoles vs nova whips vs nova dipoles in real world comparisons
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    All true, but it also depneds wchich "ARRI" you are exactly referring to. Alexa "Classic" (which basically boils down to everything but Amira and AlexaMini - MiniLF to be seen, as this is a weird hybrid of Mini and LF (A.K.A "purchasable-65", so "Classic"): TC menu "Jam Sync" will, as Bouke said, "learn" TC and adjust internal reference - this requires a low jitter TTL TC signal and the better the signal the quicker the "learn" or "tune" (TC will blink while adjusting). As this will also drive the internal reference it is as good as having genlock as long the camera stays on. TC Menu set to "Regen" however, will regenerate the internal reference clock constantly clocked by incomming TC - so this literally is a "genlock by TC" Which means the signal must be constantly present like genlock, too. Again this may work unreliable with imperfect TC signals and put out errors. Alexa "CAP2" cameras (Amira, Mini and possibly MiniLF): TC Menu as above. Usually "Regen" does the job, due to the quality of circuitry. But as the Amira was initially designed towards the ENG market it also was planned to accept separate external sync and they merged it by giving the additional option in sytem/sensor menu to reference clock the sensor as per Wandering Ear to TC in and even Genlock (still, (by default, the sync In BNC is not connected to any electronics, btw.). Selecting TC In on top hardlocks the whole system witht he same effect as on the "Classic" range. Oh, and whoever really does need video sync: another contender of genlock spitting boxes was just announced at NAB
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    FWIW the AKG ck1 is also just a capsule. It needs a 451 or 460 powering module. While it's a small mic that can even run on 9v, it's a properly high-voltage externally polarized cap (clever little inverter/transformer/booster in the preamp). That line also includes omni, short gun, and long gun versions for the same 451. Their "BlueLine" is very similar but uses an electret capsule. Cheaper and a bit more self-noise, which might not matter for most v/o recording.
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    I have not used the microDot adapters, how much length does the add to a plug. I had a Rode lav, and their plug-adapter lasted about a week, I chopped it off, and soldered on a one-piece plug.
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    Hey Eric, I'm not sure who you mean by "he clipped on the mic", we had 6 people working at the booth so I am not sure who gave you the demo. But I know when I gave the demo to people like Glen Trew, Chris Howland, Jeff Wexler, Jose Frias, Jared Elkin, Carlos Meada, and Eric Leek we got a minimum of 25ft and in some test, we got as much as 40ft on the expo floor. And I encourage you or anyone else on this page to ask any of these sound mixers how their results were when they watched the demo. Glen Trew was playing with our shark fin antenna the whole test and checking out to see how directional it was and how good it was at rejecting the other 4 audio brands that also had 2.4Ghz Omni systems at their booths 10ft away across the aisle. Jared Elkin did all of his coverage for the whole show floor and only had interference at our booth because we already had a lot of transmitters on (well above common practice.) What you may have experienced was also due to the fact that the test units were open to the public to play with and change the settings. I often found that members of the public had gone and unscrewed the shark fin so the center pin on the SMA connector wasn't making contact. Also, I would find that the system was set to 10mw instead of 100mw. Given both of those setting changes, it is very possible you were getting 7ft off the internal B-ANTs at 10mw. It's also possible that during your test there were more than 4x TX units on because we were showing off 3-4 dual kits at one time at points. Also if the TX you were being shown in your demo has the same User ID as another one in the area that would also affect range as the User ID's all default back to the same name (12345) and this also acts as the encryption key. Without knowing any these variables it's hard to say that what might have given you these results. That said, I know you're in NYC, stop by Gotham Sound and ask for a demo at their shop. When I did the demo with Nick and Peter I was able to walk around the whole place short of putting 2 full metal repair shelves of gear between the TX and the RX. Honestly, stop by Gotham anyway, they are great people there and there's always something new I find on the shelves that I need to buy.
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    The B6 is a great mic, however it's susceptible to air turbulence and fiddly with the fishing line size cable. Not a desert island mic though, you must have other mics must be on-hand. OST mics are highly regarded if your budget is limited. We still have to try out the Deity lavs. I don't like the idea of using adapters though (according to the NAB video)
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    The 195 series gear is fully compatible with 200 series equipment and 400 series equipment when running in the 200 mode. The 195 gear was all analog FM, 75 kHz deviation, no pre-emphasis with a dual band compander. If the pilot tone crystals are defective in the 195 (A weak point), then run in the bypass mode on the receivers. The 100 mode is 25 kHz deviation, with significant pre-emphasis and is not compatible with the 195 series. If the frequency is clear, these are good radios with much tighter RF filtering than any current products, ours or others. The audio is equivalent to the 200 or 400 series. Best Regards, Larry Fisher
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    1. Literally any control surface supporting MCU will “work.” How well, to what extent, and how flexibly, is anyone’s guess until release. 2. Good question I’m curious too. 3. Presumably on the Scorpio itself, though I for one would hope for the ability to have “profiles” for certain control surfaces, editable on a real computer app and then loadable onto the Scorpio itself. 4. Just like with any other DAW control surface, with MCU you can move one channel at a time or a whole bank (usually 8 channels) at a time, up or down the list. I would expect that behavior to be the same here. The Icon surface supported out of the gate is definitely capable of this. 5. YES!! 6. For the time being SD seems to directly support using the Icon Platform m+ with the Scorpio, seems as though they will be directly supporting it themselves. Maybe not, but that’s my take from what they’ve said. I believe the thinking is that this list will grow over time. 7. Thankfully Android only is purely a release thing, they have said iOS support is coming too.
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    They better! It’s about damn time they come out with a new Scorpio. The old one was announced a whole week ago! Talk about old news. But in all seriousness that seems awesome.
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    You take my quote out of context. Or maybe you didn't understand me correctly, because I didn't mean our field of work, but manufacturing in general. To emphasize my point; yes, most, if not all, of the products we use on a daily base are NOT made in "China" (or other Asian countries), YET other industries are doing it for decades now, with great results (Apple, Sony, Philips, Behringer/Midas/Klark Technik to name a few). Again, with the "vision" of the "mother" company. Not to say there is no vision in China or surrounding countries, but at least it takes the apparent scepticism away (there still seems to be that dark cloud hanging over China, that they just copy over there...).
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    Here's a bit of an overview of the current Sonosax preamp design which incorporates post (dual) ADC gain and has an option to record 32bit files: http://rtsound.net/no-gain-no-pain-sonosax-r4-and-ad8-gain-structure/ I've asked Sonosax a couple of questions about this since this discussion about the F6 has started, whether recording in 32bit produces float or integer files, and whether they can 'save' any overmodulated tracks
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    I had great success ea time i have worked with it but only single camera - i know this may have been checked but any chance you working in 29.97 and 1x is set to drop frame? That always causes me to revert to internal if op has presets that set to drop frame as default
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    Well blood and body tissue is roughly as dense as salt water which is denser than fresh water. Thus...... (your conclusion here)_____________. and then some people are just dense.
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    You can make an air gap insulator for the antenna using shrink tubing. Get a size (say, 3/8" unshrunk) that allows you to barely slip one end around the antenna down onto the connector, then shrink it at the connector so it stays in place. Then, cut the other end off just past the end of the antenna, then shrink that end and pinch it closed while hot, then trim it round.
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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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    It might be helpful to discuss the operational differences between 'wireless' and 'lav'. They're not the same thing, and in the price range you're covering, a wired lav can give you a lot better sound than a wireless. If you can spend a few grand on a wireless rig (plus the mic), it'll probably be useful in most situations. But if you've only got a couple of hundred, and you can possibly run a cord, you'll get much better results spending the money for mic rather than mic-plus-cheap-radio. And if the talent is staying put, or ideally sitting down, there's usually no reason to use a cheap wireless other than convenience. It's a bad bargain.
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    Welcome Danny. Just an observation, if you or anyone thinks this is a rude reception or answers to a terrible question, the real world will eat you up and spit out whatever it doesn’t devour of you. Perhaps an introduction of yourself and place in the community and your current job would be a good place to start instead of a overly broad question painted bright green. Best of luck. CrewC
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    First, thank you Jim for the kind words. Second, I’d like to attempt to clarify my earlier statement. I don’t mind you attempting to do production sound and post-production sound. I also don’t mind that post is not the main focus of this group. There are a few posties here and there presence is a benefit to all of us. Heck, there are even a few camera people here whose presence I value. To be sure, I don’t mind you being a newbie and asking questions, even though this forum is aimed at working professionals, I was a newbie once, just like everyone here. I have always (or almost always) offered anwers to and tried to help with newbie questions. What I do mind is that you come here and just ask us to tell you basically everything about our job, to basically teach you our job so you can do yours. There is no hint whatsoever that you have done any of the work yourself - read a book, read more or less every topic in this forum and others, etc. „nah, I can‘t be bothered to, it’s just too much work, just tell me what I need to know and I can get on with it“ is what this reeks of to me. You expect us to do your work for you. In my previous work life I got many emails where people asked me to provide my work to them for free (it was a digital download), because after all, it’s there already, right? It’s typical of the internet age. „You have all this knowledge already, just give it to me“. Sorry you find that condescending. And I may be totally wrong in my judgement of you (I actually hope that I am) and maybe you’re not part of the entitlement generation, but you came across in your first post as if you were
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    Well, with only 8 posts so far I wonder how much interaction you've actually had here. If you've been lurking then you'll know that quite a lot of good info changes hands if the questions are well researched, clear, concise and about motion picture production sound (ie not post or live sound except as they impact production sound). Those of us that have been answering newb (and other) questions here for many years are not sad at all. We're very glad Jeff started this forum. To the OP--feel free to PM me with any production sound question you might have that you don't want to post publicly for any reason.
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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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    Well well well, I seemed to have stumbled into the wrong tavern. Constantin, your son sounds bright for his age, I'm sure he will grow to be a fine young man, despite the condescention I imagine he will have to endure. Maybe your advice would be better received in a parenting forum. Dalton and Jim, thank you for your advice and your welcome, it has been well received. :) In the role I am in, I will be responsible for capturing AND processing the audio, and also creating any background music needed. I understand this is slightly different to the way most of you guys work. I'm really only interested in advice that can help me progress in this regard, not advising me to try different ways of working. Thank you. Dan
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    Years ago before knowledge of how a recording console works was so accessible, there was a tradition of adding "Producer Busy Box" knobs to the producer's desk end of the console that of course did nothing. Many were unlabelled, with the engineer deciding on the spot what sort of non-control would appeal to his current (officious) client. There were knobs labelled "Enhance", "Air", "timbre", "coherence" etc, with my all time fave being "More Oboe".
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    I have heard it now and then in quiet scenes. Often it is embarrassing enough to the camera dept, so I don't have to whine and they will use it judiciously and try to go between lines with the follow focus and re-framing. Good camera people like to see it all working to tell the story, just like we do. A set where everybody is cooperating is a set I love to be on, and produces memorable results
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    M&S was once compared to telling a DP to only use a 50mm lens for the whole shoot! mike
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    Watch ebay and TrewCoffAtion Sound consignment, they come up pretty often. Philip Perkins
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    That's not a band I've heard used much for movie work--you might have trouble finding used receivers in that range, and you should ask Comtek if receivers designed for the letter bands will work with crystals in that higher range. If they do then you can find lots of cheap used Rxs around and buy new xtals for them to match your TX. If you can get a base station TX that would be great too, esp if it is in a range that you can re-crystal your RXs to. It is good to have more than one channel of Comtek available. Philip Perkins
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    Nice! So if I were a betting man, you probably have Comtek M72 FM Ch.6 - 1 (82.500) and its corresponding receiver. If I were you, I would consider getting into the lettered frequencies while you are still not heavily invested. The M72 with BNC are all over the place, as are PR72b with crystals. They are inexpensive and reliable, and will allow you to upgrade to a base-station later. You will likely keep the portable for those situations that require it. Robert
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    Here you go. ----------------------------------------------------------- 184.600 Comtek M72 FM Ch.8-20 185.000 Location Reporting 185.150 Nady Ch. Orange 186.800 Comtek M72 FM Ch.9-2 187.600 Comtek M72 FM Ch.9-6 188.400 Comtek M72 FM Ch.9-10 190.200 Comtek M72 FM Ch.9-18 192.800 Comtek M72 FM Ch.10-2 193.200 Comtek M72 FM Ch.10-4 193.600 Comtek M72 FM Ch.10-6 194.400 Comtek M72 FM Ch.10-10 195.200 Comtek M72 FM Ch.10-13 195.400 Comtek M72 FM Ch.10-14 196.200 Comtek M72 FM Ch.10-18 72.100 Comtek M72 FM Ch.A 196.600 Comtek M72 FM Ch.10-20 72.300 Comtek M72 FM Ch.B 197.400 Comtek M72 FM Ch.10-24 72.500 Comtek M72 FM Ch.C 198.750 Comtek M72 FM Ch.11-2 72.700 Comtek M72 FM Ch.D 199.600 Comtek M72 FM Ch.11-6 72.900 Comtek M72 FM Ch.E 200.400 Comtek M72 FM Ch.11-10 73.100 Comtek M72 FM Ch.N 202.200 Comtek M72 FM Ch.11-18 73.300 Comtek M72 FM Ch.M 202.650 Comtek M72 FM Ch.11-20 73.600 Comtek M72 FM Ch.K 204.800 Comtek M72 FM Ch.12-2 75.100 Comtek M72 FM Ch.L 205.600 Comtek M72 FM Ch.12-6 75.500 Comtek M72 FM Ch.F 206.400 Comtek M72 FM Ch.12-10 75.700 Comtek M72 FM Ch.G 208.200 Comtek M72 FM Ch.12-18 75.900 Comtek M72 FM Ch.H 208.650 Comtek M72 FM Ch.12-20 82.500 Comtek M72 FM Ch.6-1 209.150 Nady Ch. Green 82.800 Comtek M72 FM Ch.6-3 210.800 Comtek M72 FM Ch.13-2 83.800 Comtek M72 FM Ch.6-2 211.600 Comtek M72 FM Ch.13-6 86.800 Comtek M72 FM Ch.6-5 212.400 Comtek M72 FM Ch.13-10
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    Ummm. I am going to leave the "balanced out to a pair of stereo headphones" question to someone with a more delicate touch. And I might even go so far as to suggest a call to Comtek when they open in the morning regarding the equipment you own. But here's what I know... The M72 is a fixed frequency mono transmitter. The frequency is stamped at the bottom of the transmitter, typically. Comtek built these transmitters in several frequency ranges. For example, the A-M frequencies are closest to the 72mHz range. They also produced a range "TV 5-6" and various others too, I think. The receivers must match the transmitter, and not all PR72b receivers are capable of operating in the same frequency range, even if you plug in the "right" crystal. The PR72 receivers were made with a mono headphone jack until the end of their run, and even with the stereo jack installed near the end of their run, you are only hearing the same thing coming out of each ear of stereo headphones. The new jack was simply installed to allow the user to use stereo headphones without only hearing from one side. Comtek is an AMAZING company, and will do whatever they can to fill you with knowledge of their older equipment, as well as helping you to modify it or keep it running. I have 12xPR72b, many of which have been "modified" with the stereo jack when sent in for service. They all work perfectly, and are more reliable and idiot proof than the PR75a (which have a tuning button - ugh!). I originally used a M72 with BNC, but now use the BST-50b base-station. Please call them. They will tell you everyting you need to know and will help you become a customer for the long term. Robert
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