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About jon_tatooles

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  • Birthday January 1

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  1. jon_tatooles

    Servicing Sound Devices Mixers

    Some customers send gear in after a project for what I refer to as a "shave and haircut". This may be important if the gear was used for a seven week shoot on a windy, volcanic beach and the pots feel like crap and there is sand pouring out of the bag (happens more often than you can imagine). If the gear is well maintained and has a nice life, +1 on John and Larry's comments.
  2. jon_tatooles

    Comparison of different transmitters

    Constantin, I appreciate that you explained the test conditions in this speech test. It is important to note that, IMO, the source material doesn't come close to stressing these system's dynamic range, preamplifier noise performance, limiters (or lack of limiters?), and overall frequency response linearity. I believe I can identify each of the systems based more on a visual representation of the files, except for one that is sonically obvious. Choosing gear is a matter of trade-offs. Using wireless versus a cable is that first trade-off. When you can, use a cable, of course. Why use a complex, expensive wireless link when a perfectly good, high quality microphone cable at $1/foot would do? Well, we have to! One could choose a system like Sennheiser's 9000 series wireless in HD uncompressed mode and not hear any appreciable sonic difference between a cable and the wireless. However, its numerous trade-offs in HD mode (64 QAM modulation, IIR) may not be worth it. These tests are certainly very useful. At the end of the day, each of us should evaluate our tools first-hand. I encourage everyone to listen to each of these systems with their own specific setups.
  3. jon_tatooles

    Audio Limited A10 for talent.

    I normally wouldn't jump into a thread where users are asking other users about a particular piece of gear, but since Jeff and Glenn from Zaxcom (a direct competitor) jumped here, so will I. Based on the comment above from Glenn from Zaxcom, I believe Audio Limited (and Sound Devices) have very different philosophies when it comes to audio performance. For applications using the A10 wireless, users are not limited to solely (speech) content generated by an actor. Audio sources on the A10-TX are not limited to bandwidth-limited lavalier microphones designed for speech. We regularly see users connect high-performance condenser microphones to the A10-TX for speech and other sources, including sound effects. The A10 system operates at 44.1 kHz internally, and the system has linear response to 20 kHz. As Glenn mentioned, fitting digital data into the limited RF spectrum is a challenge, and a balance needs to be found. The A10's 44.1 kHz sampling rate was chosen specifically because it saved a few percent of bandwidth versus a 48 kHz system. 32 kHz audio sampling (16 kHz bandwidth) was a compromise Audio Limited didn't want to make. Remember that the microphone preamplifier and A/D converter at the wireless transmitter may well be the only preamplifier and A/D in the entire audio chain. That is a benefit of digital. Audio Limited recognized that and didn't want to compromise audio performance.
  4. jon_tatooles

    Audio Limited A10-Rack

    The Audio Limited A10-Rack is now available. This has been shown for a while, and it has finally made it out of the laboratory. https://audioltd.com/a10-rack/
  5. jon_tatooles

    Sound Devices MP-1 Mic Transformer Replacement

    Based on that serial number that MP-1 will have its 18th birthday on September 27. It's still a teenager.
  6. jon_tatooles

    Zoom F8n.

    The MM-1 has 48V and 12V phantom power, plus T-powering. All microphone powering can be turned off.
  7. jon_tatooles

    T-Powered Hypercardioid Condenser Mic

    Our experience over the years supports Phil's. And from the mixer/input side, T powering can introduce other complexities, specifically if cables are suspect or the microphone input does not offer T and a 48V-to-T adapter is required. Phantom is a better electrical protocol all around.
  8. jon_tatooles

    Abisonic Microphones

    Great information here. Things certainly are evolving quickly. The changing capabilities of post and delivery are driving many of the techniques in production, whether for spatial projects or narrative/drama.
  9. jon_tatooles

    Abisonic Microphones

    Yeah, I imagine few producers know the nuances of multi-channel audio recording. No doubt you are going to bring your expertise to the project to approach the production. In the shoot you mention were you brought in for surround/immersive/3D audio recording specifically? What are the production deliverables in these projects? Raw A-format, B-format, 5.1? Other?
  10. jon_tatooles

    Abisonic Microphones

    This talk of ambisonic recording brings up the question - are your customers specifically asking for "surround", "3D audio", "ambisonics"? If yes, what kinds of projects? Do those who ask have any understanding of it and have they thought through the whole pipeline to the listener?
  11. Just like in the video where Gabe mentions he has never used wireless.
  12. Recorded with the built-in microphone on an iPhone, subject to microphone distance about 25 feet. That's why you hear some traffic noise. But a pass through RX 6 helped
  13. jon_tatooles

    Sound Devices Wireless (rebranded Audio Ltd)

    As stated by Derek, you can rotate the display orientation on the A10-RX, though the chassis orientation of the receiver in the SL-6 is fixed. A key benefit of using SuperSlot-compatible wireless in the SL-6/688 is that you can control these systems directly from the 688. And to clarify, the A10 Digital Wireless System is an Audio Limited product.
  14. jon_tatooles

    Sound Devices Mix Pre-3 and Mix Pre-6

    This should give you a scale perspective...if you know how big my hands are... MixPre-3 and 633 shown.
  15. jon_tatooles

    744T Discontinued (so it seems)

    We know a great many 744T's are in continued use. We will continue to support and service them for many years.