Witesol

looks intriguing. I could see a few uses for it in my job. depends on the price though. If it was priced low enough, I'd buy one or two for any kind of "by the ways" that pop up and need a solution. It seems like he's in the information gathering stage right now..

nice. I've seen these around twice now, a good looking product. great mileage. I do a lot of PA, sound system work and would consider one... it's only the tow capacity that would probably change my mind. I thought the FTC seemed cheapish, loud, and sort of gutless, but i still considered one.

Thanks. without my coffee yet: I mention pulls down/ up because the drift between the C300 audio and the PT on this last export comparison was pretty much the difference between 24 and 23.976. I'd say it was a near 6000 frame piece and 6 or 7 frames off. Uncertain whether editor at fault or me. I forgot to mention my iPad playlist test was live to 3 recorders and then I did one with 4 . iPad-DI- splitters- PT, H6, R88 and SD 744. So, no matter what ipad wanted to run, that was recorded to the 4 sources then all the tracks were lined up in the PT session and compared. I didnt care about sound . . .Informal yes, but my suit is at the dry cleaners right now... Shoulda worn a tie at least. If Ive made it seem like a huge issue for me to fix in post, it hasn't been. A few cuts and nudges, re- consolidate the mix and done. I'm simply wanting to know all the variables and more about all the gear on the shoot . Looking into better sync methods for next two shoots. If I understand youse guys we could be deriving sync from the SD since its the best of all our gear...

indeed. Now seems more of a Protools issue. Project settings. Internal clock vs Spdif, or FW. There are 24 vs 23.976 pull ups and downs in PT. But , not certain and in the meantime, learning. At the same time I am checking how the footage was ingested, the Avid project settings, etc.. before I blame myself..again!

redundancy. Quality. In comparisons with the C300 audio, both the Roland and SD were significantly better. Before any cutting was done the entire file was mixed. That way if they wanted to edit up some promos or web teases, the audio was consistent, leveled and EQ'd the same as the show that airs..

sure. your contributions much appreciated

Of the 15 interviews I've done, double mic'ing with DPA and the Rode, I've chosen the Pinmic maybe 5 times as my post mix track. Like a lot of mics, when it matches a voice, it's good. I did notice it had slightly less room sound, which was good given we have been in an all white sound stage with noting soft within 25 feet.. I e not one the false button thing but just under a collar or in plain sight on a black collar shirt it has been good... For $250, I think a very good bang for the buck.

I'm discovering that. Thanks again. There is an opinion that the C300 is this infallible perfect piece of equipment. I've stopped telling them otherwise, or that its crystal locking is probably no better that the Zoom. Great optics with cinema lenses but 16 bit audio and dodgy clocking... It's all part of my job and I'm fortunate to have such a good gig...

Indeed. I've tried to tell the editor that TC is merely a time map superimposed over top of the footage and audio. Anyhow, much thanks for the teachings and advice. Whether or not the editors or DP are hip to how it works or how it should be done, I'd like to know. Given the length of the show, I was surprised we didn't have more issues. 5 frames after 70 minutes is not insurmountable. At 24p the soft motion is forgiving. Having done a zillion concerts this seemed easy..

I got a couple of these with a few extra screen baskets. I like them. Easy to hide. I have colored the screens with Sharpies a couple times. Reasonably quiet. Good sound. Hard to see if you need glasses like me! With black clothing the black screen basket blends in well. The cable is a little short. The pins are easily bent. They won't stick through thick clothing. They're less than $300 but you have to get into the Rode Micon adaptors. One XLR Micon broke right away.. worth checking out

I've done lots of informal interviews , nat sounds and music stuffs on the H4n. it works. I've paid for it many times over. pretty tough to plug in line level. The external pots/pads on the h5 are welcome, as would be the H6 preamps. I did understand the little cables sticking out, going to the XY mics though...seems odd since it takes the plug in modules http://www.bhphotovideo.com/c/product/1026852-REG/zoom_h5_handy_recorder.html/c/product/#inpage:IN+STOCK#inpage:Free+Shipping+(USA)

ok. rephrase: I went and asked the DP, tech guy.. 23.976 timecode was sent to each camera and the two audio recorders. the C300s were not gen locked, nor was WC sent to the SD. My informal tests to discover drift between the 4 recorders listed above. Not conclusive other than Protools had a 5 frame longer drift on 45 minutes of recording free run compared to SD, R88 and H6. Took me all of 15 minutes to fix the audio for the editor but I'd like to understand more

I see they have a new H5n... Hmmm: H2= 2 channels, H4= 4 Channels, H6= 6 channels, H5 = 4 channels it takes the modules from the H6, has real gain pots and pads.

Thanks again. The camera Isos are strictly a backup plan and a way for the editor to have some audio on the angles. It's Avid . So far 11 of the 15 shows I've mixed(I'm doing the post) have locked up perfectly from clapper to end, even on the 2 hour show. Then some issues... Same setup, same work flow. I'm the audio dept, both capture and post! I was most amazed by the little Zoom, which sounded great and did not drift , a surprise. Anyhow, on the next shoot I may derive the camera Isos from the SD itself. I realize the TC is simply a time map that runs along side the video or audio, and is a way to find/locate clips easily. As far as the Roland, it will be a great addition for what we/I do at the company. I could see it being a great concert or basic recorder for utility use and nat sounds. It really does sound nice, has a warm quality to it. Recording the exact same source to 3 recorders allows for an easy, albeit non scientific comparison. Btw, host and guest talk show. Each was mic'd with 4061 and Rode Pin mics both.

Excellent post Philip. Thanks. I think it's the Pro tools clock that is the problem since the SD, r88 and h6 all running autonomous are less than a frame away from each other after the long recording. Ultimately a few edits and a nudge here & there easily fixes the sync. But, the inconsistency of working most of the time then the drift has me trying to fix the problem. The issue came to light when the editor compared the sweetened, mixed PT rendered files to the camera iso. I suggested subtracting a frame every 15 minutes or so, which met with resistance... Btw, on the shoot, camera Isos were derived via splitting the mic with high quality trans balanced splitters, one line going to camera, one to SD, one to Roland r88. A just in case stereo mix was sent out of the Roland to the H6 for redundancy Again, thanks