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About ivanovich

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  • Location
    Washington, DC
  • About
    I have mostly done music studio work. I also do a lot of concert, orchestral, and chamber music recording. Recently I started doing more work for location sound and sound for picture. I've been thoroughly enjoying it because it takes me out of the control room!
  • Interested in Sound for Picture

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  1. I just got the Nova about two weeks ago. When it first arrived I didn't have any CF cards that were the recommended size, so I used some Sandisc Extreme Pro 256GB that I have and use with one of my cameras. I installed two of them for the Primary and Mirror slots and started using them. In the meantime I ordered some more 'normal' sized audio cards in the 32GB-64GB vicinity but have not installed them. Still running the 256's with no problems. At first I did record tests using 6-tracks and recording at different intervals. I let it go for 20mins, then another take for 40mins, then 60mins, and then 1.5 hrs. There were no issues so I figured they're ok running it. Then I went on a job where we had one take that was 3.5hrs with 8 tracks and it went by very smoothly. No issues whatsoever. When I did first format the primary card it told me it was going to be 30 minutes which I thought was insane. This is my first Zaxcom recorder and all of my other recorders format cards pretty quickly. After it finished it was fine. The mirror card formats much quicker. I kinda like the bigger cards. No issues yet.
  2. ivanovich

    Camera Hops

    Thanks for the ideas John. I just did a quick test of remoting the SNA600a to the side of the bag and it did seem to help a lot. I'd like to minimize the spray even more but running the CL3 at 608 and shortening the SNA600s so the antenna is more in tune to the 650 marking really did make a difference. Would adding an inline filter (between TX and SNA600) help keep the RF spray within the specific TX frequency? I just looked up the frequency question and it seems you're definitely right but there's a couple of spots in the 600mhz range that we might be able to use. Available frequencies following the transition Many frequencies in the TV bands that had been available for wireless microphone use prior to the auction will continue to be available after the transition period. These include: -VHF and UHF frequencies on TV channels 2-36, which fall below 608 MHz. -Certain frequencies in the 600 MHz guard band: 614-616 MHz. -Certain frequencies in the 600 MHz duplex gap: 653-657 MHz for licensed use or 657-663 MHz for unlicensed use. Jon, didn't mean to hi-jack the thread, I was just thinking it's semi-related to the above!
  3. ivanovich

    Camera Hops

    Types of jobs you do: Documentaries, Shows, Films, and everything in between. A lot of day playing. Camera audio will be final or reference: Depends. Most of the time its just TC or guide/reference. There are gigs that I do that require broadcast quality hop. Mono/Stereo hop: Both. Most common cameras you work with: Pretty much all of them. TC needs: JB-1s, Zaxcom ERXs, Zaxcom rx200's. Hey guys, so I have a question regarding UHF hops in a compact bag setup. I primarily use a Zax CL3 with RX200's and URX100's. This setup works fantastic in a cart or if I'm working with the K-tek bag/harness combo because I can place the CL3 TX further away from the incoming RXs. My issue is that most of the time I'm running a really compact and lightweight system that doesn't use the traditional 'sound bag' setup. I don't have a lot of room to place the UHF TX far away from my receiver antennas. Right now, I'm using the TX at 608Mhz frequency and most of my incoming RXs in the 530-550 range. I get significantly reduce range when the CL3 in the bag is on. The second I turn the CL3 TX off my incoming RX range increases dramatically. Is there anything I can do to mitigate this overloading of the incoming RXs? I'm hoping that if I can remote the CL3 antenna to somewhere else in the bag will resolve the issue. I'm going to contact the Zaxcom mothership to see how I can get up to the highest legal use (614mhz?) to get more frequency separation. I'm also hoping that using more of a 'tune-able' antenna (SNA600a) could help mitigate RF spray, or a combination of all of these will allow me to use UHF hops with my compact bag. Picture is attached so you can get an idea. What methods are people using to get the best range for both UHF hops and their normal 'talent' wireless?
  4. I second/third the BD 990’s. They’re open ear design, extended low end response, extremely comfortable and easy to repair should he ever need to. I also like that its a single cord design, which is nice so you don’t have cables getting in the way of playing instruments like guitar, base, drums, etc. They’re also not insanely expensive so you can allocate some $$$ for a decent DA with headphone amp like a Benchmark or a Burl, Apogee, Grace Design, or Cranesong Avocet system. I do like the grado but they’re not confortable unless you get the high end ones. I also dont like that the cables go to the L and R sides. The idea of pairing them with a pair of closed ear phones is a good one. If he ever needs to do overdubs of quiet acoustic music they will come in handy. Westones or in ear monitors are great for this.
  5. i think AES is far from dead. $4200 vs $4995 (nova) is pretty close to be a competitor. the fact that you have to put this little box on the recorder where one would normally put RX’s to me seems like poor design.
  6. ivanovich

    New SD 833

    Perhaps mostly with SD offerings. Some other options its actually more features and less DC....
  7. I would do a single stereo mic of your choice. Or sometimes what I do is put one in the centre, panned straight down the middle and two on either side panned to taste. Most of the time I use cardiods since there is an orchestra behind them, and it seems like doing the same for this project might be a good call as well because of the non ideal acoustics. The less mics the better tends to be my approach....
  8. ivanovich

    New SD 833

    Constantin, you’re right. Not totally necessary. That being said, with an X3/Mini you would get built in faders. In my experience faders are crucial for mixing and recording music. I guess generally speaking I’m just disappointed with SDs new offerings. They seem to be bigger, bulkier, and more power hungry. Just doesn’t make sense in contrast to other offerings. I’m looking forward to seeing something really cool and innovative coming from SD.
  9. ivanovich

    New SD 833

    I dont think the 800/600 series recorder or the scorpio is the best bet for music recording. I’d look into the Sonosax SX-R4+, Zaxcom, an X3 or a Nagra perhaps? I don’t think you can do more than 2 mic amp/ channel linking so forget about doing decca tree, surround, ambisonic capture. The Sonosax is super light and very power efficient, and ofcourse great sounding.
  10. i’s go with the cinela. have you gone to the site? cosi is nice and compact but the pianissimo might be a good option too. figure 8 mics are very susceptible to wind and handling noise, cinela is great on all of these fronts.
  11. ivanovich

    Inovativ cart

    i like this thing. albeit $3.3k and 120lbs?!?! i boomed for a mixer who has a very similar idea and built it for $1kish through 8020 distributor but it was not 120lbs....thats insane
  12. Chiming in about the service side of the situation... After 15+ years of using my CCM41 without any issues, it started acting up with hiss coming in and out. I contacted Redding Audio in CT and they took care of everything. I recommend going through them. Schoeps Germany was very responsive and I had the mic back in about 3 weeks. I’d say contact them and see whats up. Any mic is going to be susceptible to rough environments where dust, humidity, and other factors will increase the need for service.
  13. When I get to location I try to always get the mics up on the booms asap and continue setting up the rest of the gear, cameras and such. By the time all is said and done, I plug in the the battery for the boom TX’s and everything is acclimated. It normally doesnt take too long unless theres a huge temperature change in which case lenses need to acclimate too....
  14. all mics need cleaning sometimes. i sent a ccm41 in for service and it took about a month portal to portal. i did have to pick up an replacement to fill in those gaps however the cmit that i have i got at the same time and i haven't had any issues with it. i live in a humid climate and always rock solid. i store mine in a vark audio dry tube. works like a charm.
  15. Vark Audio has a very nice mic amp box that is made for the 633. I’m sure you could use it on the bigger recorder too.
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