henrimic

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, ...)

You will have to re-conform the timeline with the original files using Ediload, Titan or any other conforming tool. In my experience, AAF from Premiere don’t keep the reel name in the metadata, so you will not be able to expand tracks directly in Protools.

It was the morning, the CCM8 didn’t start up, I just had hiss and noise. The CCM41 worked but with a lot of noise. I hadn’t time to make tests or investigate further, we had to shoot so I took my backup Sennheiser. But those are not invincible neither. On another project, in the mountain in winter, my 8060 had « cracks » and hiss. It was cold and humid and as we were shooting while skiing I had no backup. Fortunately It didn’t last and the mike worked normally after a few minutes.

I had a bad experience in a rain forest a few years ago with the Schoeps, so I came back to the Sennheiser pair thanks to the 8000 series that help to minimise the weight and the Cinela Pianissimo that allow me to boom with the MS when required. The 4017-ccm8 combo works really well, but as I mentionned, I don't like shotguns for ambiance. And I really hope that Senny will release a MKH8030, that would be the best option for me.

I do a lot of documentaries and have worked with several combinations over the years: MKH30+50, CCM41+CCM8, DPA4017+CCM8 and more recently I’ve been back to the MKH30+8050. At the time with the Rycotes it was pretty impossible to boom properly in MS without handling noises. With Cinela I have rediscovered the pleasure of booming in MS. But to me, the quality of the sound is not only due to the intrinsic qualities of the mikes, but more to my ability to boom properly. And MS kits are heavy. So, from my Rycote years, I’ve learned to always have a light mono mic mounted with a quick-lock and a 5pin XLR to swap quickly between the MS and mono kit. So, for long dialog parts, I can easily handle the boom and keep it right without hurting my arms. And as I am also working in post for docos, I can confirm that we never use MS for dialogs. The Side mic is always muted. The Stereo sync sound is only used for B-roll with cars, crowd, music, nature, .... but never dialogs. And obviously all the ambiances are recorded in MS or double MS. Last thing, even if I’ve worked with the 4017 and ccm8 combo, I am not convinced by shotguns for ambiance. Hope this helps. Henri.

Hi Martin, I use an Audioroot distro with Hirose outputs to feed my 833. I was concerned like you at the beginning and asked Audioroot what was their advice; actually, there is no issue with the Hirose if you don’t charge the L-mount batteries attached to the 833. The internal charger needs more current but the not the 833 itself. Greetings from VD Henri

It’s seems that Sennheiser want to concentrate their business on the professional users. https://en-us.sennheiser.com/newsroom/sennheiser-to-reposition-its-business-units-independently-of-each-other-s5jh2n Maybe some good news for us ...

Very enjoyable and inspiring reading. It's rare to have a book that doesn't talk about technique or theory, but puts the human experience at the center. I recognized myself in a lot of annecdotes and filming stories. It's also interesting for us European operators to note the differences and similarities in our working methods on both sides of the Atlantic. A book to recommend to all.

I totally agree with both of you. When I spoke of a USB key, it was more in a way to transport and activate / de-activate the licence from one machine to another. If the USB has to be plugged to use the plugin, the risk of loss, break or forgetting the device is too important.

Same here. If I use different recorders, a Scorpio on the cart and an 833 in the bag, I should be able to move the licence via a USB key for example. If not, I will remain with my DNS 2 and move it freely from one kit to another.

https://store.sounddevices.com/product/cedar-sdnx/ good news, but at the same time, a bit disappointing as I bought Noise assist a few weeks ago ... from the FAQ: I’ve already purchased NoiseAssist. Is there any discount to apply towards CEDAR sdnx? The 8-Series offers two excellent options for noise suppression, each purchased separately. There is no discount from one to the other or vice-versa; each is a totally independent purchase.

I have the feeling that the Schoeps is more "dry", with less room acoustics. But it depends on the takes and thus on the exact placement. Both are of course supercarioids but the Schoeps seems to have more reach. It's worth noting that a mike developped at the begining of the 70's is still a reference. As I often say, I am not rich enough to buy low cost, meaning that if you spend well, your investments will last for decades, and this is so true with this kind of mikes.

And being also a consumer oriented company, I am afraid that’s the pro products, per definition a niche, that will suffer the most. I hope I am wrong but definitely there will never be a MKH 8030....

This indoor version is brilliant. Bravo Philippe !

In 2016, I sent mine (first batch) to Sennheiser after the warranty and they simply replaced it for free. They were aware of the defect and didn’t argued. For the subsequent series, they just added a distinctive ring so you can differentiate it. I am in Europe, so maybe the mothership has another warranty politic than the US representative.

Thank you Patrick. I sent you a message.

Thanks to my colleague @Masaki HatsuiI had the opportunity to test a Nova this week. Really nice and clever machine. The form factor, the ergonomics, the weight and low consumption are real advantages. I am a bit confused by the software, but It’s just a question of time and habits.