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Ira Seigel

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About Ira Seigel

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    Hero Member

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  • Location
    Bainbridge Island, WA, USA
  • About
    Live sound mix and record
  • Interested in Sound for Picture
    Yes

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  1. What a great discussion! Thank you for the great read. I discovered "Dark" way before I joined this forum. Because I didn't want to disturb my wife while watching it, I used my IEMs instead of my 9.1 system. Everything about the production was A++, the sound panorama was amazing as were those weird and ominous synth music FX. (I believe some of those same synth patches were used on a Norwegian show I just watched called "Equinox".) Now I'll have to go back and listen again to the original soundtrack - maybe with my full speaker system - to be able to enjoy Matthias' work more
  2. I have been a big Eva Cassidy fan for a while. I believe that recording was made in my hometown, Washington, DC? Can I ask why you posted this? Are you associated in some way with the production? Was it the anniversary of the recording sessions?
  3. A.K.A. "Chinese handcuffs"
  4. I'm coming a little late to this party, but I tried streaming Tenet a few days ago and after 15 minutes I gave up. I could hardly understand a word of the story. With such a hyped film, I was expecting to at least be able to hear the dialog. I don't even know or care what the rest of the film contains. I've liked a lot of his stuff, but this one was unwatchable.
  5. I think the only reason to record to a Poly WAV file is that it's a lot easier to delete! I was hoping that PIXNET would allow a deletion of multiple files at a time, but it doesn't. Is there any way you've found to delete tracks other than one-at-a-time, which is VERY cumbersome, AND you have to do it to all your drives. What's the secret you've discovered? I won't do the eSATA-to-USB adapter cable. Not worth the risk. Thanks, Ira
  6. Thanks! This is all great info. Much appreciated. A couple of questions: I’m guessing that when you said you hadn’t used an externally powered drive from the eSATA port, you meant that you’ve only used the port to power the drive, not a drive powered by a wall wart. Is that right? How are you deriving your inputs? Dante? Are you recording to 2 drives simultaneously, with one as a backup? About how many tracks, on average, are you recording during a concert? I’m just curious what is the output voltage of your main AC power supply. Mine is 12v, which is at the very
  7. Could someone please offer some opinion or advice on the advantages or disadvantages of recording audio only using a drive mounted to a PIX-Caddy vs via the eSATA port?
  8. Thanks Patrick and Doc. I appreciate your insights and suggestions. Wired certainly seems the most practical and foolproof. And I hadn't considered PIXNET. I'll check out that option. Cheers!
  9. I'm hoping to use a wired or wireless keyboard with these Sound Devices recorders to help with track labeling and other functions that are slower to do with the OSD. Has anyone had success with a mini or foldable USB keyboard, or a Bluetooth keyboard using a dongle?
  10. Trey, Dane Lonsdale in the forum here is a great source for info on the SX-ST. I almost bought his a few months ago. I know he told me that the pres, EQ and limiters in the SX-ST were "superior" to those in the SX-S. Fabrice Junod at SONOSAX said that the ST pres were the next evolution up from the SX-S. Geoff Maxwell (here in this forum, as well??) likes the faders in the SX-ST much more than in the SX-S, but he said he likes those in the ES best. Write to those guys for their first-hand opinions. My only experience is with 2 SX-S8s, and I really like them for live concert mixing.
  11. Hi Brian, Thanks very much for your response here. Yeah, every day or so I check in on this board, notice another "view" or 2 on my post, but no replies. So THANK YOU! I'm glad to know that you, too, know the difference between variant 212 and 214 of the Input Module. Yes, the gray vs red button is one indicator; also the recessed Pan and Aux Send pots are another indicator of the 214. But then the wonderful part, of course, is when you open up the unit and see those 3 great S4, S5 and S8 switches. And the S4, as you mentioned, in effect chooses between POP and no pop at the
  12. I'm told that there are 3 different variants of input modules for the SX-S, and maybe others. There is a Model 211, 212, and 214, according to Adam at Liberman Sound. I just purchased an SX-S8 from Trew, and I'm fortunate (?) to have all 3 of these variants in my mixer. The only distinguishing feature seems to be the switches at the top of the module for phantom power, or lack thereof. But I have seen photos of SX-S mixers in which there are no insert or direct out jacks on the back of the modules. Can anyone tell me about these modules? Are they common? Any idea what model number
  13. Hi Mike, Received! Many thanks for your time and trouble to send it to me. Regards, Ira Seigel
  14. I have to say that in all my years mixing REO Speedwagon or Barry Manilow or etc, I never had to deal with any of these problems. ira
  15. My understanding of the OP’s question was basically - how do you get a mic close enough to the talent to minimize room ambience. One solution, obviously, is to get the actual mic element as close as possible to the talker, and not bother with overly technical mic choices and kludgy workarounds. A lav is one of those simple solutions. I apologize, however, for not intuiting that the talent was on camera.
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