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LDstudios

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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
    Yes

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  1. 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!
  2. 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.
  3. 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 days, and try and find out if ground wiring configurations do have any impact on the audio noise floor of a sound bag.
  4. 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. That is why studios often run a single “star” grounding system. I think it has less to do with a physical ground connection, and more to do with how each device references that common ground reference point. When you have something in your bag or cart like a Lectrosonics quadpack or octopack, suddenly there is the possibility of 9 paths to ground when connecting what essentially is one device, to another. At least in theory...
  5. 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?
  6. 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.
  7. Did you actually watch the video? It seems pretty realistic to me, both in acknowledging the efforts it has taken to create a quantum computer as a product, and the challenges that quantum computing still faces. The modern desktop computer would have been nothing without the development of the pocket calculator first.
  8. I'm pretty sure you can get them straight from Inspired Energy... but I think I grabbed a Remote Audio branded one from a broadcast store here in Sydney. It does the job, but the rubbery cup isn't quite as nice as the Audioroot plastic one. The Audioroot cup clips on and seems a bit firmer.
  9. Hey Larry, This isn't quite SMA related, but it seems like a fitting topic. I have a bunch of block 25 fixed antenna gear that need replacement antennas - LMa's, UCR100's, etc. Can I apply the same Lectrosonics SMA antenna cutting guides to their antenna lengths? i.e. an SMA block 25 antenna is the same length as a fixed antenna measured outside the body of the receiver or transmitter?
  10. They sound ok, but they can be nightmares to use because of the directional pickup pattern. Particularly if you end up in any kind of live situation, you really need to be on it as far as having the mic correctly orientated. Im not exactly clear on what the issue is. Couldn’t you just buy some sennheiser Omni lav’s to use with the g2’s and g3’s?
  11. Yep, I've got the same one. It does the trick, but I would never use it at full extension outdoors on a breezy day. It has the flex! On the upside, it is definitely cheap enough to buy a spare or two compared with other carbon poles.
  12. I heard a story about a 4G based live-stream going pear shaped. Something like a LiveU allows multiplexing 4G dongles to achieve greater bandwidth, and it also allows mobile phone carrier redundancy (if the two 4G dongles lose the internet on carrier A, it will automatically switch to the two 4G dongles on carrier B)... ...but it doesn't work so great when you jam half a million people into a small section of the CBD for the event you are meant to be live-streaming!
  13. The one lesson learnt on that gig was broadcasting a placeholder ("show starting at 9pm") for the live stream. I think he is checking that it is live via his phone. The issue it presents on platforms like facebook though, is it still ends up in the 'on-demand' video on facebook. If people want to watch it the next day/month/year, they will have to fast-forward through 10 minutes of "show starting at 9pm". It seemed like a good idea at the time... Totally! The Sling Studio looks like a really nifty solution but you would have to work within it's limitations... or bypass them entirely. It puts a scary amount of its functionality into wifi connections - camera links, internet connection, app switching control. Eeeeep! Does it offer any redundancy? It does have a 1/8" input on the back though, so perhaps it might be wise to avoid wifi altogether for audio? Rig the cameras with some transmitters (or even a boom op?), feed the audio back to your recorder/mixer, and provide a feed straight into the Sling Studio, either tethered or via a camera link transmitter?
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