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Glen Trew

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About Glen Trew

  • Rank
    Hero Member
  • Birthday January 1

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  • Location
    Nashville and Los Angeles
  • Interested in Sound for Picture
  • About
    TV/Film sound mixer since 1976. Still at it.

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  1. Glen Trew

    Nagra Stories Sound-men won’t ever tell

    Speaking of Nagra finds... The Trew Audio Atlanta store has an outstanding Nagra IV-L for sale on consignment. It is officially listed as "very good condition", which matches our protocol for that description, but considering its age, and compared to others I've seen, I consider it to be in excellent condition. Even the 7-inch lid is in great shape. I can't vouch for it's operation (I haven't powered it up), but I visually inspected it inside and out. It looks great and the action feels right. I bet it would take very little for us to dial in the tensions, which nearly all need after sitting unused for a while. Time sensitive notice: Now that I've seen it, I'm considering recommending a higher price (seriously). https://www.trewaudio.com/product/nagra-iv-l-recorder/
  2. Glen Trew

    MIX and ISO Tracks levels

    All true, if we know exactly what the source (actor) levels are going to be, which we never do, even with rehearsals. Therefore, we set the trim (which controls the iso track level) lower than we think we'll need, to allow for the occasional surprise peak, which means the iso tracks will usually be low, then making it up in the mix with the fader and our ears.
  3. Glen Trew

    MIX and ISO Tracks levels

    If the analog input module levels are aligned with the recorder iso track levels, and any links in the chain in between (i.e. proper gain structure), then the possibility of one distorting while the other is largely unused is not a concern, whether or not it's a Zoom or Sonosax device. Of course, riding gain in an attempt to keep levels at or near maximum would not only be way too risky, but also in poor taste with regards to natural dynamics, so no one is suggesting riding gain to keep all levels near 0dBfs. But what seems to be happening more often - recording levels pointlessly low - is because of some being needlessly uncomfortable with peaks going much past -20dBfs or -10dBfs, because of the incorrect assumption that it's starting to sound bad. Then there's the opposite problem I've seen with some who mix and record with their peak meters often pegging at full scale, with the assumption that there's useable headroom beyond zero, like was sometimes the case in the analog days. But that is a problem now because, with digital, if the meters are calibrated correctly, there is nothing useable beyond full scale. The assumption should be that a professional user knows their recording chain and will have all the links properly align and configured.
  4. Glen Trew

    MIX and ISO Tracks levels

    Yes, peak meters are all that matters for recording original tracks. Still, the reference levels (typically -20dBfs for 24-bit digital original tracks) are there to align with 0 on a VU meter.
  5. Glen Trew

    UniFlex Mini Gooseneck Refined

    Yes. Send it to the Nashville store to my attention. We have replacement screens to do the repair.
  6. Glen Trew

    MIX and ISO Tracks levels

    Here's the deal (in my opinion, experience, and observation): Prefader iso tracks, when done properly, will be, on average, at least 6dB lower. There are good reasons for this: 1) An important benefit of prefader iso tracks is to guard against surprise peaks that distort the postfader mix. To accomplish this, the iso track 0VU reference is aligned with the mixer's prefader 0VU reference (typically -20dBfs). The input trim of a mixer normally falls into a position so that normal level dialog results in the fader knob being between "unity" (usually "0" on the fader's scale) and the top throw of the fader (usually +12dB), which makes the fader knob hover around +6 on the fader scale most of the time. These settings allow an additional 6dB of "reach" when the dialog level gets lower, and up to 14dB of gain reduction with the fader before the mix track goes past max, which would finally happen at exactly the same time the iso track reaches maximum. Some mixing boards like the Sonosax SX-8D and SX-ST have a +12 fader feature that essentially lowers the average iso track by even another 12dB. Fully utilizing the "never clip" feature of Zaxcom devices will lower the average iso track levels even more. When the aid of compressor/limiters are factored into the post fader mix, even lower levels can result in the prefader iso tracks. The third factor is the reluctance of many sound mixers to record in the area between -20dBfs and 0dBfs, which can reduce the iso track levels by another 10dB-20dB, at which point the post production people of a very legitimate complaint. Solutions: 1) Make sure the mixer's prefader levels are aligned evenly with the recorder's iso tracks (typically -20 to -20). Once that's done, the only adjustment that should be necessary is the input trim on the mixer and then riding gain on the fader for the mix. 2) Don't be afraid to use the mixer's and the recorder's dynamic range. In fact, be afraid to not use it. The audio quality does not degrade when going into the "yellow" and then degrade further when going into the "red" (technically, it actually improves). The perfect recording should have the highest peak reach 0dBfs. 3) Get familiar with how the use of compressor/limiters affect the relationship between the postfader mix and prefader iso tack levels. Putting all this into practice will keep "The Calls" from postproduction to a minimum, and understanding the process will allow you to stand your ground and solve such issues when the calls do come in.
  7. Glen Trew

    UniFlex Mini Gooseneck Refined

    Sorry I'm just now noticing this question... The Uniflex-4080 was not officially been discontinued, but there was a period where replacement wire screens (the interference tubes of the 4080 mic) were not available, so production stopped. But now DPA supplies us with the replacement screens for repairs. As of now we have just one UniFlex4080 left in stock from the most recent run. It's at the Nashville Trew Audio store, and available to the first who wants it! The next run is planned for January. Since there is just one for now, best to call 800-241-8994, and ask for the Nashville sales department. PS: This microphone in stock is terminated with the TA5 connector
  8. Glen Trew

    DPA 6060 works great with Zaxcom and sound wonderful.

    That would be ideal for use with Zaxcom, if DPA can do it. However, things to consider in the big picture (very punny!): The 6060 mics should still sound very good with Zaxcom transmitters in the vast majority of situations. With that in mind, there is something to be said for the flexibility of having a mic that can be plugged into and used with transmitters with the 3-pin Lemo and Sennheiser wiring scheme. When that applies to someone's kit, the benefit may be worth the risk of rare but cringe-worthy clipping.
  9. Glen Trew

    DPA 6060 works great with Zaxcom and sound wonderful.

    This is not yet from my personal listening to the DPA6060 under those conditions, but it is based on knowledge of the theory plus actual listening experience of the DPA 4060. The compromised performance of the 4060 when used with transmitters providing 3V bias was significant enough that sound pros (including myself) were noticing the 4dB earlier clipping, which is the reason DPA came out with the 4063 for use with Zaxcom wireless, and the reason Zaxcom recommends the 4063 over the 4060. Is a max SPL of 130dB vs 134dB significant? In conversational level dialog, no. But when close-micing an actor in a scene where there is screaming (a very common occurrence in dramatic productions), it is absolutely noticeable and even cringe-worthy.
  10. Glen Trew

    DPA 6060 works great with Zaxcom and sound wonderful.

    Yes, the mic will work, but it will clip at lower than published levels with the lower 3V bias voltage, and I believe the noise and output levels will not meet published specs. This is not to say that they shouldn't be used with Zaxcom transmitters, but the noise, clipping, and output level will be somewhat compromised.
  11. Glen Trew

    Remote Audio MEON Hi-Q batteries

    The Audio Root and Remote Audio HiQ chargers and batteries are interchangeable.
  12. Glen Trew

    Cos11 Re-terminating

    It's best to use small scissors or very sharp dikes to cut away the yellow kevlar fiber. Then turn the heat up to 11 and touch the tinned soldering iron tip to the cut tip of the enameled conductor. When the solder flows onto the raw copper tip of the wire, it will burn off the enamel insulation, at which point you can tin the rest of the wire tip. It needs to happen fairly fast, but that's how it's done.
  13. Glen Trew

    DIY sma antenna

    I use the "cable dipoles" in a bag, running the cables (A and B antennas) up the shoulder straps. It worked as advertised. I was using Lectro receivers, but they should work just as well with the G3.
  14. Glen Trew

    HN-7506 or something else

    Exactly, Jan. The HN7506 uses the same Foster Electric drivers used by Sony in the MDR7506, but the first attempts (about 15 years ago) were dismal. The most influential variable in those headphones is the effects of isolation, itself. Others include the distance that the drivers are from the ears, and the resonance of the cups, both of which must be different with isolation headphones. The HN7506 tries for the best balance of isolation and approximating the sound of the Sony MDR7506 so that we can go from one to the next while compromising our monitoring reference as little as possible. There are several thousand in use now, and a run of 50 is produced about every month.
  15. Glen Trew

    New to Nagra!!

    I'm sure the movie sounded great, as did so many others recorded with the Nagra 4 series (including IV-S). But that "something special" can only be distortion, whether it's the harmonic type or tape hiss, or the effect of being over-driven into tape saturation or the hard-hitting, slow to recover nagra limiter (tape saturation being the preferred option for me), necessary with analog tape because of the need to record with only 12dB of headroom above the 0VU reference to minimize tape hiss. Instead of comparing one recording to the other, but the more telling test is to compare each recording to the mic, itself, and listen for which is the closest. Assuming that all the links in the chain are properly set with both the analog tape and nonlinear recorders, the closest to the original signal will be always the 48K, 24 bit digital recording.