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Jeff Wexler

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About Jeff Wexler

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    Santa Monica, CA USA
  • About
    Jeffrey S. Wexler, CAS Host of jwsound Discussion Group
  • Interested in Sound for Picture

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  1. I'm fairly sure there is no penalty for use of InstaSnake or something like it for any sort of recording, dialog or music, whatever. What I was trying to say in my earlier post is the it is just wiring. I suppose someone could make the case for the impedance of the wiring scheme could be different, or the overall guage of CAT 5 cable (the same sort of arguments that people make in the esoteric HiFi magazines about oxygen free cable, low resistance materials, etc.). I used my several InstaSnakes (I even built one that was an 8-way) mostly for car work where I was hardwiring several plant mics and my CarTalk unit (allows Director to speak to the actors through a mic to a speaker in the car) when using process trailer. Also used my 8-way for some concert stuff where I need multiple feeds from house system mixer. Always worked well.
  2. Well, when I first got the InstaSnake I wrongly assumed there were transformers in the box (like video baluns --- balanced-un-balanced) which is why I was concerned about frequency response and distortion, etc. It turns out that the InstaSnake is just a wiring scheme --- converting 3 pin XLR signals to travel down CAT 5/6 cable. There are no transformers or anything else --- it's just copper! The only remaining concern with the use of the InstaSnake is the degree to which CAT 5/6 wiring deals with RF immunity, induced hum characteristics, etc. In all my years using it, it was never a problem and seemed to perform as well as your typical star-quad cable. I don't know why this is with all those twisted leads going into the CAT 5 connector, but it did work.
  3. I agree with Courtney regarding the BlackMagic Duo line of video monitors --- I still don't know why they were so popular. I realize this topic is all about a mounting solution for them so I won't hijack the thread. The lack of up front controls on the BlackMagics really put me off.
  4. Seems like you are prepared to do a lot of the right things --- treating the space is definitely the right approach though it is often the hardest to accomplish (when there is little or no cooperation from production, camera, production designer, and of course the time factor). Hanging furniture pads (whatever you want to call them -- sound blankets) can be very effective but it should be done properly. Hanging pads flat against a wall is much less effective than hanging the pads a few inches away from the wall (providing some air space). Hanging pads overhead (ceiling) is harder to do but if they are hung not flat but coved (like waves) they are much more effective. Maybe some others will chime in with some of the methods they have used in the past for treating rooms.
  5. Rob Stalder - Rastorder Carts, Australia is the maker of these carts. Rob is on JWSOUND and you can look at all the carts on the website: LINK to Rastorder site (you can contact them through the site as well -- not sure if the site has all current models)
  6. The Eventbrite RSVP will be posted here and Facebook and most other social media areas.
  7. At some point when building the many sound carts I did over my 46 year long career, I did start to provide rack rails as more and more equipment had that mounting routine (in the early days, none of our gear was rackmount stuff). I also wanted interior space to be as wide and clear as possible in those areas where I did not have rack rails but still keep the overall outside dimension (width) to be as slim as possible. I'm pretty sure the last cart wound up the same dimensions that you have stated which kept the cart quite narrow (good to negotiate doorways, etc.) but still provide maximum loading area.
  8. Rado, I seem to remember David B. saying he would not be able to attend NAB this year. Things may have changed, I will ask him if IU get the chance. Not sure if David checks in here on JWSOUND or not. As for the pictures, I'm pretty sure I have them archived somewhere --- I will look around.
  9. For the majority of my cart power supplies I have used LiFe nominal 12 volt batteries that even when fully charged do not supply over 14 volts or so. My cart power supplies have generally incorporated an AC to DC regulated power supply that when connected to AC provides a regulated 13.5 vdc that powers the load and keeps the battery topped off. I also made sure I understood the powering schemes utilized in all of the gear connected to my cart power supply --- understanding the specification of each piece of equipment in terms of its power supply, acceptable voltage range and regulation.
  10. If the box you have pictured here is only for distribution, I do not think any other components should be required. I'm not sure why you need switches (I would imagine each device receiving power from this distribution box would have it's own power switch). It would be quite typical to have included some fuse or fuses (or circuit breakers) for added protection in case of short circuit. You actually could have used circuit breakers that also serve as switches (this is what I did with all of my cart power supplies). Regarding your mention of "clean power" I am not well versed in any of the circuits that some people have employed to condition the DC coming from your main battery --- I also have never found the need for such things (and I have my doubts about the units that do employ these circuits). Usually when there is noise or interference it is coming from the interconnection scheme (the various devices connected, ground loops, various voltage regulator problems, etc. --- things which will not be solved with added circuits in the distribution box).
  11. Many people did fit their Devas and Fusion recorders with a CF card (and possibly people have used an SSD) replacing the conventional spinning hard drive. It requires the use of the proper adapter. John Blankenship (who is one of our hero members here) has had lots of experience doing this. I would contact him for advice.
  12. I'm not going to try and pull together all the posts that discuss motorized faders vs. non-motorized but Glenn's post, I believe, was not intended to be defensive or competitive, just merely trying to clarify many of the reasons why motorized faders make perfect sense in many situations and that they do not pose a significant problem as some had suggested in previous posts. Obviously there is personal preference to consider --- if the ultimate feel of the fader can only be satisfied by use of high quality P&G faders and any given piece of gear does not have these, then you need to make some choices. It is a question of priorities and functionality. In my view, the feel of the fader is important but should not be the main determining factor and I think Glenn was just trying to dispel some of the myths that motorized faders are unacceptable.
  13. Constantin and John Gooch, you do know that this flexible assignment of each "knob" (fader) is the way Zaxcom recorder/mixers have worked for years. Additionally, when any given fader is assigned as a trim the actual gain of the wireless transmitters' preamp can be adjusted just as if you were hard-wired with a conventional mic into an old style analog mixing panel. You can even do the "two handed mixing" is really necessary as we used to do: one hand on the level fader and another hand on the gain trim.
  14. Cross posting from Facebook --- Zaxcom Nova Rundown at Audio Dept. on January 25th (day of the CAS Awards). Eventbrite LINK for more details Date And Time Sat, January 25, 2020 10:00 AM – 1:00 PM PST Location Audio Department LLC 2700 West Burbank Boulevard Burbank, CA 91505
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