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    DP in Washington DC area and Mid-Atlantic region.
  • Interested in Sound for Picture

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  1. Thanks all! The 302 is already gone (at a shockingly low price I might add). I would prefer to keep just one audio mixer, and since I've decided that a file recording function is important, the 302 is where it needs to be now, with a new owner. The MixPre seems really good, but I see that there are quite a few models to dig thru 6, 6M, 6 II. I'll look for some comparison information (YT?) and follow up. Much appreciated all, Grant.
  2. Hello all, I would like to move from a fairly old Sound Devices 3 channel mixer to a 4 channel-capable recorder/mixer. I'm not so concerned about price as I am simplicity/shallow learning curve. I would like to have a field unit that can be handed off to a fellow professional without too much time spent delving into feature sets, etc. 4 clean channels, mic/line capability, L/R channel outputs, XLR connectors on both sides, and with the option to hand off files shortly after we wrap. That's about it. I see a few models that are contenders, but they're all made by companies whose gear I have never seen up close. Recommendations? Thanks in advance.
  3. I have just unpacked and am testing this this mixer. The quick start guide is very brief. 2 questions : 1. It looks like when phantom power is applied, it is necessarily done across ALL possible inputs at once, is that so? (in this case, I will want to avoid connecting a receiver output directly to the mixer's inputs) 2. I'm not yet able to monitor the final mix out, only the prefade mics. I'm missing something in the monitoring section, but have not discovered it yet. Once out of PFL mode, headphones and metering go back to silence, despite having mics open and a proven signal leaving via main outs (master L and R). 20 years of experience with compact field mixers, so I'm in adaptation mode today! Thanks - Grant.
  4. Thanks everyone. I've settled on the Canare L-4E5C, with OD = 4.8 mm. Should work fine, plenty of colors available. The reason for the cable outer jacket being a certain color is that it's very quickly recognizable for fast work, repeated setups. Even with the cable partly covered by other gear, we'll know exactly which one to go for. Cheers - Grant.
  5. Is anyone aware of low diameter, light weight audio cable (similar to Canare L2-E5) that is available in an array of colors? Application is for field audio kits - I'm building multiple cable sets, and want audio cables coded by color-for-length, so that crew members can quickly adapt to each setup. I'm finding color variety with 'standard' diameter cable, such as the quad L4-E5C, but in the smaller-dimensioned cable, black only. Thanks - Grant.
  6. Thanks to Rob for a creative solution. Cheers! - Grant.
  7. Good morning everyone. I am missing a single foam windscreen for one our ECM-77B lav mics. I've just learned that the only official way to replace it is by buying a pack of 12. I would like to see if others are interested in splitting the purchase. Ideally you'd be in the DC area, but it's not essential - the postage on a few of these to you in regular mail is going to be minimal. Let me know if you are interested (grant@gpi.tv) and how many you'd like - we can work out arrangements. With 2 of these mics in house, I can see no point buying in more than one as needed and 2 spares. Sony has forced me to form a buying cartel. Cheers, and wow, stay warm out there today! Grant.
  8. Thank you everyone for a huge and comprehensive set of ideas! I am efforting local rentals in lav and shotgun configurations (will try the DPA-4080 and Sanken CS3-e), and will record some tests. If I can rent in a Cedar DNS-2 for tests here inside the Capitol, I would like to run that as part of the testing matrix also. The noise level in here varies a lot, so a proper test might take several shifts to complete - the worst acoustic environments here will track with a lot of people or equipment moving through. The rest of the time, it's just a big, taxpayer-funded echo chamber. Grant. Friday PM - Russell Rotunda. The finish line for the week is in sight!
  9. Thanks gents. This is single camera, and the formula is one person (guest can be a member of Congress or a correspondent) delivering straight to the lens. We're fixed on live lines, so moving will never be an option (we frequently get little warning that someone is about to be on air). The CS3e sounds like a reasonable choice. I will rent one in for a day, and put it up against a Sennh. 416, my 'standard' shotgun in the gear list. I was thinking that there might be a lav mic with a fairly tight pickup pattern, perhaps with a reduced sensitivity, in which case the mic would be placed higher on the lapel. By the way, there's no expectation that we're hiding lav mics in these shots. The crewing is minimal, and in peak times, talent can be rotating in out of the position quickly. I appreciate all the feedback. Grant.
  10. Good evening everyone, I almost hesitate to add to a topic that has been so roundly discussed, but in this case, my environment is the same, over and over, and the micing happens to be identical.... I would like to determine best micing practices and equipment for the specific and fixed live indoor locations around the House and Senate sides of the US Capitol, including the office buildings that adjoin them. I can pretty safely say that these circumstances never vary : Guest is always looking into the lens - no concerns about head-to-mic relationship varying while on air (ie : a close pickup pattern on chosen mic not likely to be an issue) All shots are live to air - there'll be no post processing - in fact I don't think there's any actual recording of the segments these days The acoustics range all the way up to 'brutally reverberant' - we're talking rotundas that are open to 2 or 3 floors, also looking down block-long empty corridors, and every surface is marble - horizontal and vertical. Echo chamber extremus. The very worst thing that can happen during an on air location segment is a cleaning crew pushing a plastic cart with hard wheels - it would be hard to create a more distracting set of sounds - and it goes on and on, as the video crew frantically waves - invariably, to no avail. No wait, there is a horrible acoustic competitor - a gaggle of sugar-laden school children on tour! I see no reason to lean more towards booming, or to lav micing. Whichever is used, it's essential for the crew to jump in and affix, then dress IFB for the guest. Whether adjusting a boom mic or lav, it will be about the same amount of work. I do note however that a Senator cannot walk off and rip the head off a Sonotrim mic, when the mic is in fact an overhead boom. (I remember each time we pass in the corridor, ahem. She has no idea....). I think that's the entire spec. In terms of optimizing results to a closely repeatable set of acoustic conditions, there's one other thing that I am curious about - if one really wanted to see what is possible, is this a candidate project environment for adding a 2nd mic, off guest, and phase-reversing then mixing it with the talent mic (we'd need to mix down to a single audio channel before delivery down HD-SDI lines)? It would at least be an interesting experiment. If employed, I would have to satisfy myself that it worked simply and reliably - live is live. I have never attempted this technique, but have always been curious about it's power to improve audio.
  11. John, Alen, Nick, Philip, Rick, Daniel and Few More Years, Thank you all for a well-rounded set of commentaries. 2 ideas that have stuck with me - the physical issues that will sporadically arise with crews running in and out of the shared location (lots of wheeled carts on the move, larger diam cable to cross), and the idea that any issue within the umbilical requires taking the whole unit off line for repairs. My modified approach, which will still accomplish speedier setups and fewer discrete parts, will be to run one cct for power and another for signals. Thanks again, will post some photos when done. Grant.
  12. Thanks Eric, that's a great point. Part of the power train was to send 12 volts DC to the camera. I think that means lifting the ground on that circuit, since there will be at least 2 of the cables connecting to the camera body (video and audio). If after successful testing, I still ran into an issue on a location one day, I could always ignore the power-thru-umbillical cct and simply run a separate line out. Grant.
  13. Hello all, I'm about to fabricate an expanded and this time consistently color-coded set of audio cables (length matching jacket color). The primary use is live location work around the US Capitol - lots of hallways, rotundas, etc. This time, while making up individual XLR-terminated audio cables, I am also going to take an 'umbillical approach' between fiber interconnect box, camera position and correspondent position (which is up to 25 feet from camera, but rarely more than 12 feet away from the lens). Traditionally, the signals between these 3 locations include mic audio, phone audio (IFB), and HD-SDI signals, using mini-RG59 cables. I would like to experiment, cautiously, with including power into the umbillical - distributing final power to the correspondent position for USB devices (5v DC) and IFB components (9v DC @ aprox 200mA). Can anyone predict if this can be done without risk of audio interference, and if so, would it be best to send out the power first @ 120 volts (say via 18/3 cable, minimal current), stepping it down at the end of the umbillical, OR first doing low voltage conversion and then distributing power via low voltage wiring? If a mockup shows a clean and reliable set of signals, I will bring all cables inside a common Techflex housing. The back story : US networks have now stripped almost ALL DC live crews down to single operator, so that this proposed equipment refinement will make life a little easier (one cable set instead of 2) - faster plug'n play, less taping down to the marble floors, and less entanglement with other live crew's cable runs, etc. I am proposing to use Canare L-4E5C both inside the Techflex/umbillical environment and outside of it. Grant.
  14. Thanks everyone... The DP was struggling to set to a very specific shutter speed periodically, to get a quick shot of a cheap digital clock (to show the time running out for 'contestants'). Would swapping out shutter speeds lead to this issue? The digital clock would not record properly until the camera hit a shutter setting of... I think it was 1/32. I observed that getting the F55 down to that setting and back up again was an onerous task, requiring a couple of minutes per go. There's this bloody lag in the camera's menus - I don't know how many of the menus are subject to this - but setting things like shutter leads to 'overshoot'. (right off, when I hooked up, I noticed that audio metering was suffering a processing lag). No fun at all. I think we hit the 'clock shot' about 4 or 5 times over 7 hours. Looks like it might have caused us more grief than we first knew. (I may be off base here, as frame rate and shutter speed should not really have any relationship to each other). Grant.
  15. Thanks Philip. I appreciate this. I have not done a lot of production work in large teams for the last few years, and now I have had the chance to see that record-and-send-wireless-hop is the new standard. My task now will be to determine whether a conventional mixer and umbillical link has any place going forwards. It may be possible to add an outboard recorder to the compact 322 mixer that supports time code, but it may be better to just move to an integrated platform such as the Zoom F8. Time to dig in and learn what is out there... Grant.
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