Tom Visser

49 minutes ago, greyfoxx said:

I look at as somewhere in between the 744t and the 633. Its a 4 channel if you want the safety tracks(compensate for the limiters). I would chose a 633 over it however I personally think its better than a 744t. Now what we need is someone to develop taller knobs that would attach to the F8 knobs. Seems like there could be a market there.

These may already exist.  Anyone know what the shaft type is?  D-flat?  6mm?

19 hours ago, Margus Jukkum said:

I have to echo Axel's accolades for the X3. I received my X3 some 6 weeks ago (#52). I made my deposit payment in Dec. 2014. Delivery was delayed a couple of times so I worked the entire year (2015) with my X2. When the X3 arrived I was 6 weeks into a series and the producer was reluctant to have me change recorders fearing a hiccup in the post flow. Next year for the first three months I will be on the road with musicians recording music into Pro Tools. The X3 will be the backup recorder. Currently my only cavil with the X3 is that the highest sampling rate it can do is 96096 kHz. The initial specs I read were that it would be able to record at 192.0 kHz. I have been assured by Aaton that this is a future update. 

I have ordered an X3 bag from Aaton and will make a decision on it when it arrives. I'm intrigued by Axel's good words about the Kortwich bag that perhaps a quick trip to Berlin is merited when my music gig is finished. Lord knows my KT bag designed by Stuart Wilson that I've used for years with my X2 is in tatters. It was also interesting to read about Axel carrying a 4 input Kortwich preamp so he can quickly adjust the gain on the line level inputs. For years working with the X2 and my Schoeps Super CMIT I carried a Lake People digital gain and 10 volt phantom power supply in the bag. It was bulky and I hated it but it worked. I'm glad that with the X3 this won't be necessary.

For the time being I'm going to hang on to my X2 as a backup recorder. Despite the robust build of the X2, over the years I did have it go down twice. Both times it was the scrolling wheel. I believe that any machine, no matter how good, that is used professionally will eventually break down. That said the Cantar X2 was the best built, best sounding recorder I have ever used and I expect that the X3 will be even better.

Odd timing, but I'm dealing with the scroll wheel myself.  I think it's understandable that something mechanical will need occasional service.  When I contacted Aaton right before Christmas about the issue, they express air / international mailed me an Allen key (totally above and beyond) and instructions on how to field service the part.  I admire the customer service and solidifies my allegiance to this company that makes a recorder crucial to my professional career.

My condolences Jeff, me ka pule a me ka aloha menemene.

I haven't booked a ticket yet, but I'm gonna try and make it out.

completely different lens here, sorry for the OT... but snapped this photo of a Hasselblad body with Zeiss lens when I visited NASA Houston earlier this year, just amazed with the equipment that NASA put up into the harsh environs of space and the people that used them.  (incidentally, this photo was shot with a modern Biogon)

I'm not an X3 owner yet, happy with my X2, but for the backup question...  I am working on a proper cart for 2016 - and feel that I'm going to run a Boom Recorder setup which will be my live backup and for the potential occasion that I need more than 8 recording tracks.  I like the idea of a computer based setup, but fear the field reliability and tweakiness of it.  Parallel X2 / Boom Recorder approach keeps 1 foot solidly in the old, and 1 in the new allowing me a safety net to explore the ups and downs of running a computer in the field - for the time being, not in a mission critical way.  As soon as there is a need, an X3 would replace the X2, but for now happy to casually watch from the sidelines.

Good the hear from you Larry... If your looking for a retirement project, I'd love to see an iPhone case that accepts a Lectro BATTSLED so I can power my phone off of L-batteries and have TA3 audio outputs.  I'd buy at least one.  (don't forget the beer bottle opener)

442 is that Ford Crown Victoria... been around forever, everyone (gov) uses it, and is pretty reliable.  When it does need service, it's no big thing, parts are available and easy to maintain.  Michigan... Wisconsin, same thing right?  (with a little research, actually they were made in Ontario)

I'm not going to make a CS-104 car analogy, because I can't think of a car manufactured in California and thinking of something bigger than a Crown Vic that's not a road boat is difficult... there's certainly no wrong reason to go with a CS-104, but there are a lot of right reasons to go with a 442, especially given that its being shed off by many mixers as a backup these days, which is a shame, as it's still my #1 Sound Devices Hall of Fame winner.

We all know how proud Glenn is of his company and engineering feats, so perhaps we hear his "voice" when reading his text, but come on... the guy never mentioned a competitor, listed some real world problems, and how his company approaches it from an engineering standpoint.  I don't think he deserves to be nagged about subtext or hidden agenda.  He's a member in good standing on the board, and wrote an astute abstract on a wireless related concern.  If any CEO / company-man wants to join the group and voice their opinions, I welcome it, don't care if its self serving about their equipment and company.  I'd rather have this transparent line of communication to the source, rather than decoding marketing department speak and more labyrinth-like corporate feedback channels.  I use both wireless systems and like to know the logic behind the design choices that my gear manufacturers make.  I grab Zaxcom when I want utmost sound quality.  I grab Lectrosonics when I need un-compromised range and reliability.  That being said, you cannot say that I said "Lectro sounds bad" or "Zax has short range".  I know what I know from personal experience and appreciate having the luxury of owning gear that works so well.

P.S. How's retirement treating you Larry?

P.P.S. it would make me happier if Zaxcom just embraced slot-in or even "super-slot" standards, assuming all parties could come to agreement and make it happen legally.  Sound mixers loose when companies get bogged down IP claims.  FWIW I will no longer buy a wireless receiver that is not slot-in or an (smaller/lighter) RX-12 type concept from here on out.  Ultimately an RX/Venue style box is superior, as all DC and RF distro is internalized and can be executed however each manufacturer feels best for their components from a systems perspective.  Modularity used to be important to me, but no longer.

Electrical to optical converter that shoots light down the hollow tube of the pole and is received by an optical to electrical receiver at the bottom.

1 hour ago, Shastapete said:

Tom, do you need to lay down on the couch and talk about this. I feel there are some deep seated issues about zipoff pants.

I for one have a pair, great for spring/fall when the weather is chilly in the morning but warm in the sun mid day. 

I bet you saw a camera guy wear them and thought to yourself "what a great idea, I wish I was cool like that" rather than the appropriate response "what a hoser".  Does a blacksmith wear zip off pants?  No.  Does he work in hot environments?  Yes.

NO!  Zip not.  Pants or pants not.  There is no zip.

As for being nice, I think you should be nice to everyone the first time you meet them, that only happens once.  Don't continue being nice for just show, however.

I get the impression that your main boom setup is going to be an M-S one... the components seem great, 50/30 combo is hard to beat.  But... also get a shock mount to allow for simple single mic mono boom setup, you don't want to be swinging an M-S setup needlessly around most of the time, as a lot of that stereo audio will in fact not be necessary for much of what your likely to encounter.  You seem to be missing a shotgun, would be a necessity if much of your shoot is outdoors like I get the impression that it is.  633 is a solid unit, I might even consider a used 552 in your shoes, as low budget (is it?) projects often don't have the time and resources for extensive post production, and handing over a bunch of multi-track recordings might actually be less productive than just turning over a solid mix... the theory that can be mixed better in post doesn't always apply, but good theory.  Stay away from the Cinela, I don't think it makes sense for your first mic rig - it's more of a specialized thoroughbred for those that know it abilities and want to live with its complexities (given potential rugged first time field use).  Rycote softies are nice and light, and work for most situations.  Full zeppelins are still relatively simple and work in more extreme situations, but are much heavier.  For your first job, get a short - mid boom.  Just realize that later on your going to want multiple booms, including a very long one, some job just can't be done without it.  7506 / HD-25ii... just pick one and use it for the rest of your career.  Headphone are not so important to us for sound quality, but for training our ears to get used to the response and being able to trust them as a monitoring tool.

bags - know what you need to carry on your person, know what you need to have, but can get away with being a minute away.  Don't overload yourself, but make sure you have enough within grasp, it's a fine balance.  I've always owned Portabrace bags - I've used most of them here or there, I can tell you right now at this point in time, K-Tek is making the absolute best bags.  Cables - you'll never have enough, but too many and you can't find what you need when you need it.  None of this means jack shit if you can't power it.  Power or lack of it can make you have a bad day.  Most people here probably use NP-1 systems.  I personally use V-lock and AB camera batteries (I often tell production to provide batteries and camera AC's do all the charging for me when on the road, or use my own personal Sony LiFePO4 / Olivine bricks which fully charge in about 45 minutes.  New generation of SMART batteries look like a very smart choice, Jose Frias recently did an excellent writeup on them.

get a good knife, carry scissors with dull tips, get to know lots of different types of tapes, know when / why to use moleskin, latex sheaths, figure out why rycote under covers sort of suck, why rycote over covers are awesome, don't be a pushy person but don't be a pushover, stay away from crafty, if you need to drink something (including coffee) try water first, take care of your body (especially the back) which means you should be exercising / stretching in the AM and also after wrap at night, think before you move, once you move, move fast, don't wear pants that the legs zip off - that's some camera department shit right there, if your not OCD already learn how to act like you are (for your own personal affairs), if sound was a chess game it would be won or lost based upon the first couple of moves, and remember... the DP is NOT your boss.

Happy Eumel user here, have a pair for COS-11D with Lemo-3 Senneiser (works for Zaxcom) version.

Hoping for your speedy recovery and a high signal to noise ratio.

Can squeeze a 701D?  Very close but slightly larger dimensions, if so sold!

Using encryption?

Tom, this unit looks amazing.  I personally find the innovative features here more compelling than the Zoom F8, having a more realistic channel count and filling a void with a timecode capability not available before.

I'd just like to take this opportunity to apologize to any FOH engineer that has ever had to deal with my old band.  We were douche bags and I was too young and stupid then to realize it, this thread just reminded me of that.

There's a couple of standards, but no 1 standard.  For narrative I do mix on 1, safe mix on 2 (-6dB), and ISO 3,4,5... I like first 2 tracks being mix tracks so if the poly file is played on a consumer player (QuickTime for example) it will audibly just play the first 2 tracks by default, which happen to be the intended mix.  For projects that require a split mix, mostly unscripted television or doc work, same as above but A and B mixes on first 2 tracks.  As long as your mixes are first, I think your golden, up to you how you organize everything else, but as Jan says, consistency is very important.

Silence is golden.  Someone talking is a momentary interruption to the silence and "good sound" is that which respectfully breaks the silence and lets it return.

Pretty much most all production gear is tried and tested as "rugged".  Can't go wrong with Lectrosonics.  Zoom F8 "could" be a good rugged unit, but it hasn't been out long enough for that to be tested in real world conditions, therefore fails the first test in operating in mission critical conditions - test everything.  Sort of odd question, though, no?  I work in Hawaii, doesn't get much tougher than that with salt water / air, 50' waves, high winds, heat, and humidity.  Others have worked on Mt. Everest.  Rugged conditions is a given for our profession, not the unusual circumstance.  In my mind it's more so the preparations, safety equipment on hand, and mindset to know enough to find out he conditions ahead of time and experience to translate that into a plan of action, more so than the gear itself, that will allow your gear and yourself to survive intact on location.

...and for mic, as everyone else will say it, sennheiser MKH416, and your backup, another 416.

I have a lot of producers who use their own personal IFB headsets or even ear buds, and even I feel the volume is too low, and I don't tend to monitor too loud myself.  Even with sensitive headsets, there are situations where I'd like more gain too.

thanks you zaxcom, can we get a headphone circuit with more juice?

As end users of this gear in the field, we become somewhat a kind of engineer ourselves, not in the classic sense, but at the front lines trying to make this stuff work.  Spec is great and stories of hundreds of yards of range is impressive, but sometimes shit hits the fan and you can't get 50 feet (sometimes can't get 5 feet, but that's not a signal power / reception issue).  I appreciate having the power and tools at my disposal to make the scene work without holding up production.  If having powered antennas helps me do the job, I appreciate the flexibility in having them at my side.  The warning about overload - duely noted.  What I'd really like to see from wireless manufacturers is some more informative RF metering capabilities.  The single axis "RF bar" or "Christmas tree" could be replaced with some sort of 2-axis meter perhaps?  An axis for RF modulation level and a side band that would illustrate signal to noise, I'd imagine it could look much like half of a stereo phase correlation scope.  Perhaps powered antenna manufacturers could also provide some sort of built in signal geneator.  If we can observe the RF modulation level with a pig tail, then we can more accurately calculate the dB drop from a 50' length of RG-11.  More informative metering could then tell us if we are realizing a gain in performance, or just introducing too much noise to amplify too.

I think the future will be more wireless packed into a tiny bandwidth shared with other devices.  2.4Ghz?  5Ghz? 900Mhz?  With digital modulation could have ultra narrow independently bandpassed antennas, one for each actor, with c-stand mounted multi-receiver, bristling with these antennas on PTZ heads and helical antennas tracking cast as they move about.  At that point, my coax would be feeding a MADI signal that could run hundreds of feet back to me.  The utility position could evolve into some sort of AWACS-like EW/RF/radar operations tech scanning the RF horizon for bogies.

"Beginner field recorder setup"

"sonosax"

ok class, let's try to put those two words / phrases into a sentence.  I should have been more clear previously, as I would in fact NOT dissuade everyone from Sonosax, just the people asking for advice as a beggining recordist.  They make excellent lustworthy gear and certainly the cream of the crop.