henrimic

You’ll need an audio embedder to SDI like this one from Blackmagic. https://www.bhphotovideo.com/c/product/1335394-REG/blackmagic_design_convmcauds2_mini_converter_audio.html this one Is only 8 channels, but is among the cheapest. It work really well, I use one regularly for live streaming. Aja converters work well too. if you need more than 8 channel, you’ll need a studio converter, far more expensive….. https://sonifex.co.uk/redbox/rbvhcmd16_ld.shtml But all this means having a cable between you and the camera.

Sound Devices / Audio Limited has launched the A20 mini and the features are impressive. Internal Recording, Timecode, size of the 2040 mini TX, can be powered by Sony or AAA batteries, remote operation from the 8 series or a phone, .... https://www.sounddevices.com/a20-mini/ Can't wait to try it !

I would convert mics to line level or better, Dante, placing the preamps right next to the mics. A line level or Dante signal should be less sensitive to hum and buzz.

Hi Sebi, when I was in school, I loved being on set as a psm as much as being involved in sound post production. When I first started working, I was primarily a sound recordist, on documentaries, television and stories. After a few years, I had an accident and couldn't work for several months on the set. Fortunately, I had the opportunity to work in post-production, which limited the loss of income. After my recovery, I was happy to return to the set, but I didn't want to leave post-production. With some colleagues, we started a post-production company and split our time between post-production and shooting. That was in 1998 and since then I've always been involved in both sides and I love it. I feel like knowing post-production helps me on set, and when I'm there I really know what's needed and what's important. And I can tell that directors like to be with someone in post who knows how it works on a set. But I have two very important points: - If I'm working as PSM on a project, I'd rather not be the re-recording mixer. The film needs different perspectives and points of view. - I work mostly on documentaries now, and I feel like having a foot in both parts is more accepted than in fiction. If you feel you like both aspects of sound for picture, don't limit yourself. Henri

Feeling of spaciousness. If you prefer XY, choose super-cardioids, the separation will be better. Actually, MS could work too. Adding a pair outside the piano will give you more room and more « open » sound. It’ll help also in post to vary the proximity to match the picture.

Good to know. Thanks for sharing.

Sorry for my inability to draw, but here is how I would mic a piano for on screen shooting. Tape two DPA omnis (4060 with flat grid) inside the piano spaced by 1 foot. You can use Wireless, preferably with a stereo transmitter to avoid phase issues. I used this setup for live performance on TV and it worked perfectly. I would also put a spaced pair of omnis or an ORTF at some distance out of frame to give some openness and not being too close.

I may be wrong, but I think there is the network and interfaces clock on one hand, and the devices internal clock on the other hand. I don’t have a Scorpio and DSQD at the moment so my answer is not based on experiment, but I assume there are Sample Rate Converters on the inputs. I know there are are on the AES. Maybe a call at Sound Devices should help. please let us know how you worked it out. We will all be faced this issue in the future.

You can adjust the sample rate and pull-up / down in the Device tab in Dante controller. I am not sure if all options are available on all the devices, especially the DSQD. But I am absolutely certain that any mismatch will not work at all . I found this on Audinate’s website: Sample Rate Shows the current sample rate of the device, and allows you to change the operating sample rate of the Dante device. This may require the device to be rebooted to take effect. All sample rates supported by the device are shown in the drop down menu. Shows the current pull-up/down setting for the device, and allows you to change the pull-up/down setting. The pull-up/down setting can be used to adjust the sample rate of the device to synchronise audio with video that has undergone frame rate conversion. For example, to synchronise Dante audio with video that has been converted from 24 fps to 25 fps, set the sample rate pull-up/down for any relevant Dante audio devices to +4.1667%. Applies to audio channels only. Note: Changing the sample rate pull-up/down for a device places that device in a dedicated clock domain. Dante devices can only transmit audio to, or receive audio from other devices on the same clock domain. See Clock Status View for more information.

May be of some interest for you, not a real world experience, but Raycom did a walk test with these new lectros, bag and cart based.

As you can see on the picture, you can only have access to channels 1 & 2 via the SL6. You need to add a cable on the front plate to use receivers 3 & 4. If I am not wrong, you can’t access the menu of 3 & 4 via the 688.

Here is a link to the knowledge base of Yamaha explaining how to setup a VLAN on a Cisco switch for Dante applications. https://usa.yamaha.com/products/contents/proaudio/docs/dante_network_design_guide/301_vlan.html

Really clever setup. I am interested by this NDI video over IP. What encoder do you use ? The kiloview ? Thx Henri

I would say that both are very capable recorders. You are hesitating between an Aston Martin and a Ferrari... matter of taste. I'll put emphasis on the differences that could make the balance shift. The Cantar X3 can store and recall Input and output grids (20 input maps, 26 headphone and output maps). The inbuilt mixer plate The playback facility The Scorpio can have Cedar SDNX onboard Its layout and ergonomics are closer to the 788 that you already know. The Scorpio weight 1.5 kg less than the X3 wich can be decisive if you also work on the shoulder. If I was you, I'll borrow one of each and make my own opinion. Features and specifications are one thing, but your feeling when working with the machine is another one.

In this particular case, I would recommend to try Ediload that is a real Swiss Army Knife regarding conforming and versioning. You can download a fully functional temporary licence for free and, if it does the job for you, you can rent it on the next projects. It’s worth trying it. https://www.soundsinsync.com/products/ediload By the way, you will still need the AAF for the sounds added by the editor (musics, fx, temporary voice overs, ...)