Glen Trew

We have a customer we're work with for a nearly identical story. I'm pretty sure that the solution will be to isolate the headphone output from the mixer return. The guys in our shop are building a 2-channel 100ohm 1:1 isolation transformer box with one 1/4-inch stereo jack in and one out, that I'm betting will solve the problem. Whirlwind has a line isolation transformer box that should also work, but it is much larger than needed for a single headphone circuit, and the 600 ohm impedence will not be the most efficient for a headphone output. Since I think using the headphone out of a recorder into the return inputs of the mix is usually a better way than regular line outputs to monitor returns, I think this headphone iso box may become a stock item. Glen Trew

It loads in through the selected mirror device, so if a CF card will format with an adapter plugged into the firewire port, then yes, it will work. CF card are much easier to store than a DVD-RAM disc, and don't mind being scratched. Glen Trew

Hello All, I have posted some information relating to storing complete configurations to CF card and disk, that Deva and Fusion users may find very valuable: http://www.trewaudio.com/products/zaxcom/deva_cool_things1/. Regards, Glen Trew

Today only: http://www.remoteaudio.com/smokinhot/ gt

Yep, I'll race. First one from Nashville to Vegas on two wheels wins, and I'll be riding the 1800 miles on a 1986 BMW. Michael, I'm wondering about your experience with the MicroCat, specifically what mic you were using. The MicroCat works best with the Sanken COS-11 with the the metal windscreen on the mic. Wind metal windscreen is important because it helps position the MicroCat and keeps it secure and creates a dead air space between the mic and the MicroCat. When used with the COS-11 and the metal windscreen, I don't know of a better solution for motorcycle dialog than the MicroCat. Glen Trew

No we don't. While I'm sure "10ms" describes something having to do with the fader controller, it cannot describe what we hear as "fader lag". Fader lag occurs when the knob moves faster than the level changes (the level change "lags"). If this time was actually 10ms, it would not be detectable because it is impossible to physically move the knob that fast. The more useful spec would be to describe the minimum time it takes for the fader circuit to change the level from full down to full up. Glen Trew

"Lag" vs. "Latency" I think we should be careful to refer to the phenomenon described in this thread as "fader lag" instead of "latency". Fader lag refers to the action of a fader being faster than the actual change in level it causes. This is considered necessary by most manufacturers to reduce the chance of noticeable "zippering" when quickly moving the faders. "Latency" has traditionally referred to the phenomenon of an actual delay of the audio signal delay cause by the time needed for digital processing. Glen Trew

Oh yes it can. Yes it can. The way stereo and mono and surround are handled throughout the delivery process can have a profound affect on perceived character of a mix. There was a CAS seminar a few months ago that included this topic. Even if the integrity of the mix is retained, the dynamic range of many broadcasts (including cable) is squashed, bring up background effects and music up whenever there's a break between words. I would be less likely to suspect a commercially made DVD, but it is possible that an improper setup a home theater system could cause similar problems. I'm just playing the odds here, but I think it's more than likely that if the same films were seen in a properly setup commercial theater, the complaint would not have happened. gt

Was it from a DVD or from cable?

A limiting factor in that system is that the boom op cannot talk to you when they decide they should. I'm also wondering how you monitor the boom op's talkback privately while still monitoring the program mix? (ethics issue of eavesdropping tabled) Glen Trew

Scott, Like the others, I'm surprised that you would have the boom op's talkback mic open all the time. Since it's clear that this would interfere with your monitoring, I'm guessing there's something missing in the description. Something the Zaxcom system's com output (receiver channel 2) does is keep the channel dead quiet until the talkback button is pressed. Likewise, the hardwired Remote Audio talkback system shorts the com input until the talkback button is pressed, keeping it noise-free. This way, the talkback channel can be available at all times in the mixer's monitor (headphones). On another but related point: With your wireless com rig, I'm wondering how you monitor the boom op's talkback to have it go only to your headphones? Glen Trew

Sorry for the continued cross-posting, but because some of my TRX992 review had to do with information missing in the manual, and because Zaxcom has issued a revised manual that now has that information, I have added a related post today at the original blog: http://www.trewaudio.com/audioflow/2009/03/05/caution-cutting-edge-ahead/comment-page-1/#comment-718. Thanks, Glen Trew

The Sound Devices 442 is both up and to the right, in a slight arc. If anyone knows of a meter that goes up and to the right in a straight diagonal, we'll have all the options covered. I use my Deva in the left to right horizontal mode because it allows the meter labels to be seen, and because it makes the best use of the screen's real-estate for me. But some people see it differently. Glen Trew

Hi Scott, The PR-216 is designed to accept both mono and stereo headphones. To accomplish this, when stereo phones are used, they are connect in series. Therefore, to get one earbud to work, you need to terminate it with a mono 1/8" plug. It should work fine. Also, like Sergio said, Remote Audio has a single earpiece made specifically for IFB use (Comtek, Lectro, whatever). It's called the Ear Bud. In time, two faults with the Ear Bud were discovered: The cable often failed at the connector strain relief, and the hinge pin in the ear hook often worked its way out. Both of these issues were resolved several months ago and dealer's stock was exchanged. It is my experience that, when offered the choice of single and double ear headphones, most people in video village prefer single ear pieces like the Ear Bud. Glen Trew

like you mentioned, There has always been the ability to rig a separate wireless channel for the boom op to talk back on, but this would not be considered a true talkback system. A talkback system would include a silent push-to-talk for the boom op, a remote activated muting function for the receiver at the mixer end, and a way for the boom ob to hear side tone (their own voice). The Zaxcom 992 has all of these features, but with the limitations discussed in my review. Glen Trew

I finally got a chance to evaluate the Zaxcom TRX-992. My review may be considered too long for this forum, so I decided to put it on the Trew Audio blog site. The article is called "Caution... Cutting edge ahead". Those interested can see it here: http://www.trewaudio.com/audioflow/. Best, Glen Trew

I don't think the pin out is published anywhere. Send a request to dean@remoteaudio.com for the pin out and you should have the info tomorrow. Glen Trew

Duplicated from the same thread on ramps: Hi Noah, I haven't done any laboratory analysis on the MKH-8000 series, but in my experience with the 8040, which includes three features, a doc, and many commercials in the last year and a half, it has been as immune to RFI and humidity issues as the other MKH mics. This means I haven't had any RFI or humidity issues at all with the 8040. Regarding wind, Matt is correct in that the included small foam tear drop screen is inadequate, even for gentle panning with a boom pole. There is a copy of the article here: http://www.trewaudio.com/news/200902/hannah_montana/ that has some photos added of the windscreen and suspension rigs I used. Glen Trew

I've plugged and unplugged for decades without any problems. No harm to dynamic mics (moving coil) either. You even get use to the pop after 15 or 20 years. gt

It can still be very useful, even though it cannot take external timecode. For example, you can set your recorder's timecode to match, easily within one second. Once this has been set, the offset can be noted during transfer, which should hold for at least a few hours. Also, all iPhones should automatically be in sync everywhere within a region, which saves a lot of jamming when multiple slates are used. Glen Trew

There should be no problem in doing this. The only limiting factor would be the internal circuit breaker inside the mixer. I can't recall what its capacity of the breaker is, but I think it can supply four 3041 receivers. I'm sure Ron Meyer can give us the answer.

I would be surprised if you have received shielded pair XLR cables that do not use a twisted pair. The tightness of the twist (number of twists per meter) required for audio cables might not be so appearant as in CAT5 cable, but the twist is usually in the spec. I wonder if you are thinking about starquad cable, which uses twisted conducters (typically 2 blue, 2 white) within each pair. Since the intention with starquad cables is to combine same colored conductors at the connector, they are not usually thought of as a "pair". Not all XLR cables use the starquad conductor scheme. For noise rejection, I think starquad is always best. But some people may prefer nonstarquad for a couple of reasons including lower cost and smaller cable size, particularly when used for line level signals, such as in ENG break-away cables. For example, the 3-pair cable that Remote Audio had made for their ENG break-away cables uses shielded twisted pairs, but does not use starquad pairs because doing so would make in impossible to fit into a Neutricon or 7-pin XLR connector. But, for the Remote Audio Talkback and Boom Cable system, a 2-pair starquad cable is used (currently Canare), where one starquad pair is dedicated to the boom microphone signal and the other 5 conductors of the second starquad pair are used for monitoring and talkback. Glen Trew

Sorry to pop the bubbles of the majority of poll voters, but, for remote film/video production sound using modern professional equipment (made since the 1980's) there is no valid reason to leave the shells of XLR audio connectors ungrounded, and several good reasons to ground them. What would the responses have been if the poll had asked, "Would you prefer using mic cables that have several inches of unshielded conductors?" Of course, all answers would have been no. But this is exactly what happens when two XLR cables are connected together with ungrounded shells. There are other reasons to ground the shells of audio XLR connectors, but this one should be enough. Clearly, from the responses in the previous posts, the risks of ungrounded audio XLR shells can go unnoticed for entire careers. But even though I could usually get an acceptable signal in the short distance between a mixer and a recorder with a couple of clothes hangers and paper clips, (and have had to resort to something similar when I've run out of proper cables), we should stack the odds in our favor by grounding the shells. There is an recent exhaustive discussion of this topic on ramps. So, rather than re-posting everything here, I suggest checking it out there. Glen Trew

Hi Grant, If the FR2 has the same issue in handling impedance-balanced outputs, then the isolation resistors should solve the problem. 27K may or may not be the optimum value (depending partially on the input impedance of the FR2), but my guess it will be fine. You will probably have a just a few dB of insertion loss to make up with the input pots. Glen Trew

Cisco is effectively managing its total resources to generate profits for the company when compared to industry averages. The company’s finances are sound at this time but it needs to be careful regarding its debt ratios. Operating margins are improving and operating cash flow remains positive. Demand for the company’s products and services has been strong as sales for the last quarter grew 8.13% rising to $10.33 billion. Looking forward, the analyst consensus forecast for revenue and earnings for the next two quarters are expected to slow versus the prior quarter.