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About LDstudios

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  • Location
    Sydney, Australia
  • About
    Studio guy getting into location sound...
  • Interested in Sound for Picture

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  1. Yeah, it is still very much a thing today. It is usually the result of cascading recording channels into recording channels. It is an incredibly common thing to do in post for both workflow and QC reasons, with channels feeding print stems, and print stems feeding the print master. The easiest way to fix it in Pro Tools at least, is the turn off delay compensation on the print master by putting the channel into blue mode. It can become a whole lot more involved with more complex bussing structures though. The delay itself only occurs on the recorded audio. It would be interesting
  2. Looks great! Where did you source the little plastic enclosure from?
  3. How reliable are COS11s? I purchased a brand new pair and was a bit surprised to find a bunch of the black finish has scratched off after only 6 or 7 days of shooting. I know they have really become sound staples, but I've found them to be a little bit underwhelming all round.
  4. Hello braintrust, Does anyone know a source/manufacturer/model number for a Rycote style conn box enclosure for DIY'ing my own power/audio harnesses?
  5. Hey y'all. Thought you might be interested in this. Pro Sound Effects have a cheeky little giveaway in a couple of days. The prize is a 1yr sub to Pro Tools Ultimate, Izotope Production Production Suite, some stuff by Krotos, and $4000 worth of samples from PSE. No affiliation, but everyone deserves a copy of RX! I hug mine every night. Pro Sound Effect Giveaway
  6. Sonarworks implementation has taken a number of steps to alleviate the shortcomings that Jay has mentioned. You can scale the resulting EQ correction curve from 0 to 100%, and you can also apply your own curves again over the top to achieve your desired result. It also have multiple modes, from low latency through to phase linear. If you are mixing rather than tracking, you won't notice the extra latency of phase linear in any modern DAW. I found my mixes improved a tonne with Sonarworks, but it isn't a magic bullet. It doesn't replace acoustic treatment... it supplements it. It i
  7. It seems like there is some card reader + card type specific thing going on. We had no luck at all with disk utility, but we were getting a lovely "this USB device is drawing more power than is available via USB" style message in OSX on all of the iMacs that we tried it with. The card reader that worked looked identical to the USB3 model, but was the previous USB2 version. It tops off a bizarre week with two SD 688 recorders using CF cards. Last week one recorder wouldn't format any CF card that I put in it. The menu became slow to respond, and after a bunch of hard restarts, powe
  8. Hey everyone, Is it a known thing that CF cards used in SD 688's and SD 788's won't mount with a USB 3 CF card reader? That is the experience I had today after an email from the post department. The 32GB Sandisk extreme (it's on the approved media list) that I used yesterday with a Sound Devices 688 wouldn't mount. They tried multiple readers. Tried multiple cables. Tried multiple Macs. Tried multiple PCs. Nothing. Just as we were about to give up, I fished an identical CF card out of my bag that I last used with my Sound Devices 788... and it too wouldn't mount. The
  9. And it is just a thought. Take it for whatever it is or isn't worth. Thanks for the heads up on For The Love Of Music. I'll have to check it out!
  10. What about weaving in the historical aspects of cinema into the mixing philosophy? Cinema ran only a mono centre channel for decades, followed by a failed attempt at stereo, then onto LCR... with the rest being history. Perhaps just mono centre for the archival footage, and centre dialogue for the interviews with perhaps a bit of ambience/room tone mixed to L&R to give it a bit more of a modern spread? At the end of the day, it might be a particularly big ask to rely on the dialogue mix across the front three speakers to fill in any narrative or editorial holes.
  11. Most studios also operate with common ground and power. It’s impedance to ground that really matters. All it takes is a less than average IEC cable or cheap and nasty power board to throw spanner in the works. By lifting the shield at one end, you avoid multiple paths to ground, and no closed loops for stray ground current to congregate. While there is no 50 or 60hz AC buzzing around a bag, does a common ground necessarily mean all devices in the bag see it at the same impedance? Sound bags are exposed to the elements quite a bit. I might do some measurements in the coming day
  12. From what I understand there is always something to ground, even in DC systems. It all has to do with ground reference - the common point which voltages in the system are measured from. It is why you can have a +9v or -9v or +/-4.5 volt circuit powered off a simple 9v battery. I wasn’t particularly succinct in my first post. The power aspects of the system seem pretty straight forward. But what about the audio interconnects? In the studio, the usual convention is to leave the shield of your audio interconnects floating at one end to prevent multiple paths to the ground reference.
  13. Hey everyone, Can anyone shed some light on proper grounding techniques when wiring up a sound bag? Is the usual one-path-to-ground rule still the best approach to constructing a bag that is as quiet as possible? Perhaps centred around the mixer/recorder with the shields floated at the receiver end?
  14. Hey everyone, Does anyone know if the Soundbag Dashboard rack mount panel will accomodate Lectro SRb5P receivers with the extra 5 pin output connector attached to the front panel? I have tried getting in touch with Soundbag Dashboards, but haven't managed to receive a reply to my query.
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