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About jon_tatooles

  • Birthday January 1

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  1. We are pleased to announce that the Audio Ltd A10-RX can now interface directly to the integrated slot in Sony slot-based cameras with the addition of the A-15PIN accessory. There are significant number of these cameras used for news/interview/broadcast and reality. We worked directly with Sony to provide compatibility. Here a bit more on this: https://www.sounddevices.com/sound-devices-releases-a-15pin-adapter-for-sony-slot-in-and-a10-rx/
  2. We are honored and excited to be part of the launch of the new Frame.io Camera to Cloud Integration. The service was announced this week, rolling out in March. This the first, and unquestionably not the last, of this type of system allowing for automated transfer of sound files directly from a recorder to post production. Take a look at their system - https://www.frame.io/c2c More on this to come.
  3. The MixPre may change SR when connected to a computer as a USB interface, depending on what the SR is set in the computer. It won't change back to a prior SR when disconnected.
  4. I am curious how many of you hold Part 74 licenses or operate within a production company or studio that has a Part 74 license.
  5. Comments and discussion regarding plugin topology and licensing are certainly something we are watching. And yes this is a "new" business practice for Sound Devices; we have never before had the opportunity to bring an entire hardware-box worth of realtime processor-intensive signal processing to a portable product. NA is far outside the scope of our normal, and comprehensive, free firmware updates. Those continue just like we have since we started firmware updates with the 744T, in 2004. We know many users won't consider using noise reduction. If it isn't relevant for your applications, that choice is yours. If it is, again you have options. CEDAR is solely in the noise reduction business and has been honing their algorithm for years. It is an incredible tool. Sound Devices' development of our own NoiseAssist algorithm took years of development by our resident big brain (https://www.prosoundweb.com/sound-devices-welcomes-dr-steve-popovich-as-software-engineer/) working with Matt and his team of software and hardware engineers. And either tool can be added to the recorder because of the 8-Series' prodigious computational power. Noise reduction as implemented here is vastly different than attenuating an input like we, and others, do with automatic mixing.
  6. We have worked a long time on this project and are pleased to offer CEDAR noise reduction on the 8-Series. This is another available option, along with our own internally developed NoiseAssist, for realtime noise suppression. These processes take advantage of the enormous computational power in the 8-Series. https://www.sounddevices.com/sound-devices-and-cedar-audio-ltd-announce-cedar-sdnx-for-8-series/
  7. Based on the original posters input source the Centrance may not have enough gain based on its published spec of ~54 dB maximum gain. That is suitable for many applications like music, but not enough for dynamic microphones and speech at any subject-to-microphone distance beyond a few inches. A preamp with a minimum of 65 dB of gain, and more like 70+ dB, should be considered.
  8. With wireless now in our product line, we are exploring where and how customers are using wireless and how FCC licensing affects users choice of system, operating frequencies and power levels. A couple of questions: For those of you in the U.S. operating in the 941 MHz band, was the licensing requirement something you addressed before or after considered operating in that band? How long did it take to get licensed? Again for U.S. users, is the licensing requirement to operate higher than 50 mW in the UHF band an obstacle in day to day use? For those who are licensed, how often are you operating at higher power levels?
  9. Regarding your deliverables to production, in the context of a production sound mixer I don't believe that baseline requirements from production will change soon from 24/48 PCM WAV iso files (and the occasional mix...). Although I have heard about more than one feature production attempting to do their entire audio signal path, including dialog, at 96 kHz SR and are having difficulty (why...another question entirely). That doesn't mean that you won't be recording in some other format in the foreseeable future. Production sound mixers and sound designers are presently recording material upstream of their deliverable with different formats. There are applications that benefit with different SR's, bit depths, etc. Note this is a totally independent conversation than what is the deliverable to end users. We are in a world where streaming services deliver 5.1 MPEG at 384 kbs.
  10. If you are at IBC, please stop by and see the latest - https://www.sounddevices.com/product/833/
  11. Correct. Files are not overloaded, though their waveform display shows how it would be interpreted as integer (24-bit). MixPre II record mode is either/or, so that isn't feasible, though you could perform a re-record/re-mix on the device to re-record the mix at levels below 0 dBFS.
  12. A few things on this: If you are in a "bag drop" scenario, this is an ideal application for 32-bit float recording with the MixPre II. Whether you (grossly) under record or over record, you can scale the signals after the fact as required. When in 32-bit float mode, limiters are not available on MixPre II's. Nor are they required since no analog voltage from a microphone signal can overload the AD converter. Yes, when you are using a wireless system that has its own gain stage, you must set up a valid gain stage for that device. In 32-bit mode, metering is identical to 24 bit recording, so if you see overload, a signal that is above 0 dBFS will be clipped if converted without changing gain post-record to 24-bit. So if you are using an application that does not recognize 32-bit float, signals over 0 are an issue. You would need to adjust gain and convert to 24-bit in a DAW that correctly interprets 32-bit float. 24-bit recording is available, with limiters, and with extremely wide dynamic range, just as we have in the past. Here are preliminary data on some common editing environments and their 32 bit compatibility (we recommend independent verification for your specific setup, etc.): DAW/NLE 32-bit float support Limitations Adobe Audition 2015.2.1 Y None Adobe Premier Pro 2015.4 Y Waveform displays can still show as clipped when signal is reduced below 0dBFS. Apple FCPX 10.4.6 Y Waveform displays can still show as clipped when signal is reduced below 0dBFS. Apple Logic Pro X 10.4.6 N - Audacity 2.02 Y None Avid Media Composer 8.6.5 N - DaVinci Resolve N - Izotope RX7 Y None Protools 12 Y Waveform displays can still show as clipped when signal is reduced below 0dBFS. Reaper64 5.979 Y None Steinberg Cubase LE 9.5 Y Output can still distort if signal is not reduced below 0dBFS (MAC OS Mojave) I believe we are at very early days with this, and I am certain we will continue to evolve how these are handled at all stages of production.
  13. Here is an article with both the sound files and visual representations of files that were correctly, over, and under recorded to three separate tracks in the MixPre II. This gives an idea of the gain invariant nature of 32-bit recording. https://www.sounddevices.com/noise-in-32-bit-float/
  14. With the single USB-A port it is either USB controller or USB flash.
  15. Good questions, though I don't have anything to tell you. IMO, choose your tools based on the capabilities they offer today, not what they can and can't offer in the future. In the SD world, we try hard to introduce new features and products when they are ready, though we certainly have missed posted dates.
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