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Tom Visser

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About Tom Visser

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  • Birthday 07/05/1972

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  • Location
    Waimea (Kamuela) & Honolulu, HI
  • Interested in Sound for Picture
  • About
    IATSE 665 & 695 Y-1

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  1. with the new Lockit or Nano-Lockit, is there a workflow that allows a Lockit to be continuously jammed from an external timecode source and then in turn wirelessly keep other Lockits in synch? In the quick start guide for the Nano, method "2B" specifies synching from an external source. I was wondering if it just one time jams from that source or will the unit continuously jam from that source as long as connected
  2. not sure exactly what you mean by addition digital ins on word clock... the AES inputs are on DB25 and have SRC, so do not necessarily need to be locked to clock. You only have 8 recording tracks, period. What you can do is combine as many inputs as you want onto a recording track though, so you could for example record mic 1 and line 1 on track 1, then use the gain pots to mix the 2 inputs (or more) to a single recording track. The digital inputs can also be combined with analog inputs, but obviously there is no gain pot for the digital inputs, so gain can't be adjusted nor can they be muted on the Cantar while rolling. One thing to note, you do not have to assign the mix track to a record track for it to be active. So for example, you could assign digital 1 to 6 to tracks 1 to 6, then mic 1 to track 7 and mic 2 to track 8. The only problem is that you would never be able to bring tracks 7 and 8 into the mix unless you are using the Cantarem which has 8 faders (other than mixing with the trims). There are digital direct outputs of the first 6 recording tracks as well as an assignable digital output. For analog outputs there is a balanced output on XLR5 and a foldback output on unbalanced TA3. Any of the outputs, wether digital or analog, can be assigned to the mix output OR can be a matrix output of some sort (including inputs that are not being recorded, if you want a communications feed for example). So in this way you could record 8 ISOs, then send the output to a 2-track recorder to record the mix. In my case I have a Zaxcom IFB200 hooked up to the AES output and in this way could record 8 ISOs and deliver a separately recorded 2 channel mix if it was really necessary, but generally use the Cantar on jobs where 6 sources cover it. I own the Cantar, love it, don't want to replace it with anything else, but when it comes to the Cantar, I think logic dictates that I would never really recommend it to anyone else. You have to know why you want to use it and not be talked out of using it by common sense. From a value perspective, it just never really makes sense, unless you are getting a really good deal on it. I like that I can take it into the rain. I can honestly say it is the most reliable recorder I've used, beating out every Sound Devices or Zaxcom unit I've driven... not to say I think those are unreliable, just statistically, the % failure rate I've had with the Cantar is lower - but not zero. Shit happens, even to Cantar. I like that it is impossible to wash out the meters with sunlight. I mean literally impossible - you can try, but with the sun in our solar system on the planet earth, you can't do it, you'll blind yourself before the meters are not readable. I like that there is a menu system that allows lots of flexibility, but once your rolling, the things that you would want to adjust while rolling, are done with tactile buttons, faders, and pots. You can adjust this by touch and don't need to read a screen, unless you are adjusting limiter or filter parameters (or panning - panning in ENG/reality situations is not easy with Cantar - I do it myself, as I work a fair amount of unscripted, but you have to become adept at holding a boom pole, while pressing a button with a pinky, and then spinning an encoder with your other hand). Nothing with the Cantar was really designed with "plain logic". Shit is confusing sometimes. I still have to break out the manual occasionally when doing something I haven't done before or done in awhile. Its very "French" I guess, not being an expert on the French. I can say, though, after years of using it, that I develop a muscle memory and I personally find the operation very easy. Its just the first time you try to turn it on, you can't. you look at the manual, figure it out, then after practicing for awhile, it becomes second nature. Same thing goes with pretty much every other function of the unit. I would compare it to flying an airplane versus driving a car. The average person can't jump into a cockpit, figure out how to start the motor and do all the other pre-flight stuff - but after training and experience, you become expert on it, and if you need to do some sort of emergency maneuver, good training and experience will pay off. Pretty much anybody with any level of training can jump into any car and figure out how to get going. I'd say that is the Sound Devices approach. There's something to be said for that approach, but if you go Cantar, throw out any ideas of it being a "logical" journey. by the way, as far as updating for modern age, one thing I did was forget the idea of accessing the HDD via 6-pin firewire and replaced the internal HDD with a PATA CF card reader. I then put a 128GB SanDisk CF card in it, formatted for 120GB (Cantar won't recognize more). This has been 100% reliable for me and if I ever needed to replace with main volume, its just a card swap away. Sometimes when I need to backup content to my main storage RAID, I pull the main card and just use a card reader, rather than the antique firewire connection. I have also purchased an IDE to CFAST caddy. I haven't bother to try to install it, but the logic is that if there was some reason for me to go CFAST, I could - haven't seen that reason yet. DVDRAM is obviously worthless today. If you do buy a unit, make sure it has the CF removable media bay OR you know where to buy one... as that is the card you will deliver on a daily basis.
  3. There's no phantom on the Mini. Only does line level input.
  4. $100 for the first person that makes a riggable SR slot in box and dual slot NP-F battery charger. Let's make camera work for us for once.
  5. If they could add an M-S capsule into that “filter” too, I’d be interested.
  6. Is it too long because of the filter + XLR module? Rycote makes an 8000 to XLR pigtail. (sorry for the B&H link, first place to find a photo) Otherwise, Sennheiser makes MZL extension cables, unfortunately they are all way too long for practical use, but perhaps someone can make a custom shorter pigtail in which case you can remotely mount the filter a few inches away. Personally I've just relied on the filters in a transmitter or my hard wired preamps.
  7. I had Sean over at Media Blackout make me a custom dual cup version of his L-Series Wedge Plate. It has 15V regulation, P-Tap output, voltage meter, designed to sandwich in-between a mount and battery, but is quite a bit more expensive. https://mediablackout.net/collections/battery-eliminators/products/sony-np-f550-wedge-plate?variant=31982093132
  8. I've often referred to this chart when making decisions about filters for music recording purposes... http://www.independentrecording.net/irn/resources/freqchart/main_display.htm For purposes of IFB for film and television - not an issue. For purposes of IEM for musicians, not an issue either. If you are recording percussion instruments and planning on using this as a critical part of the signal chain, yes it will filter out harmonics and "air" - not part of the instrument sound itself, but some of the overtones that add to the sound in the end.
  9. I have not, but used to use the Quadra system which I’d expect to be ballpark.
  10. My cart is pretty modest, and for jobs near home using an older SLA PSC Powerstation. For jobs I have to fly on a plane, using V-lock camera batteries and a Sony AC-DN2B which is an AC power supply / battery charger and seamlessly falls over to battery when AC is removed. If I had a larger cart would likely find that I’d need to up the current supply and capacity a bit. When I push into position, I am up and running on batteries (could go couple hours) and when my utility has a chance to hook me up to power, I’m charging up for the next move.
  11. Lectro Duet transmitter with single Tx radio, 2 channel capability, no Dante, but AES input as well as analog. small form factor or even slot mount (just reverse input vice outputs on 25-pin). A slightly cheaper 1-channel Duet receiver would be welcome. $1000'ish for an IEM receiver of that quality is great. $750'ish for a single channel version without LCD and only volume control knob would make it variable for IFB for me. SSM nailed it - no need for further improve on their transmitters IMO with dual AA units available for longevity, but find that the 5'ish hour runtime I'm getting now is just fine for most jobs. Zaxcom needs a dual transmitter capable slot mount wide band receiver. OR an all in-one 6 channel or 8 channel receiver - ditch the whole modular concept because it seems too expensive, big, and heavy. Plus integrated Zaxnet transmitter for non-Zaxcom recorders OR make a recorder I'd be willing to use. The current MAXX, Nomad, Deva are just not my cup of tea. Rugged ERX or Zaxnet over UHF system would be welcome too. MKH8030 please (could be an in-line screw in capsule / XLR5 module that fits an additional MKH80XX capsule in front) Aaton release V3 firmware for X2 (I know I'm dreaming here). A nearly perfect machine, but have a few small requests - like a modern remote solution. X3 and X3 mini look great, but just not a machine for my market. An "X0" little micro Cantar would be cool - not the spaceship LCD but something a little bit more related to the X2 "Casio watch" LCD technology with a modest IO complement but bulletproof operations. I'm thinking along the lines of 2 mic/line amps, 4 line in, 6 AES in, 2 line out, 2 tape out, 2 AES out.
  12. Peltier coolers are woefully inefficient and unless bonded right to the heat creating sensor and processing chips, wouldn’t do much. Your more apt to find success with remote AC units and ducting. The suggestion to forget adaptive fan speed and just go with a constant happy medium speed is a good one. Also using longer lenses where the camera can set back from the subject will help, as would some sound treatments - pads / carpet between and portable gobos. Ultimately this sounds like a job for Alexa or Amira but really too many variables as to why RED is being requested to know for sure. As sound recordist we face many challenges and RED fans are just one more of those things that cause us headaches - but with a little planning and cooperation can be salvaged.
  13. What do they call English Muffins over there? Do you guys find Austin Powers funny? Do they call Cheerios “Cheerios” or do they rebrand it?
  14. I haven't compared the 26, but am a 25-II user myself and even though the connector is a constant issue - I feel like at this point I don't feel like bothering to learn a new set of cans. Some day I may solder some banana jacks on mine or something.
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