Allen Rowand

@Paul F and @Teom: any chance you can borrow or rent another recorder? You both are using F8s and having an issue, so I'd eliminate the Zoom as the problem. I'm not blaming the F8 (I use an F8n) but sometimes gear just doesn't play nicely together. When I worked in sound reinforcement we had an issue where Cadac mixing consoles refused to work with Earthworks mics; the mic was fine on another mixer and the Cadac input was fine with any other mic, but the combo just didn't work.

Been thinking about something like this for when the neighbor's kids are shrieking in the back yard for the third straight hour...

Sennheiser HD-26 with PSC Softie covers.

The file you uploaded is two channel mono. I split the channels, phase reversed one side, and it's almost 100% nulled on playback (the ticks could be from mp3 compression artifacts). I've attached a file so you can check for yourself. Have you tried the cables on another device or camera? USO_null.wav

@Philip Perkins I'm using one of these: https://www.amazon.com/dp/B07C69HG33?psc=1&ref=ppx_yo2_dt_b_product_details My setup is a MacBook Air M1 with a Caldigit TS3+ dock and the DisplayLink adapter above. I drive my main (center) 4k monitor from the dock, my secondary (left) 4k monitor via DisplayLink, and my laptop is on a riser to the right. Works well, although the image isn't as sharp as I'd prefer. I just haven't bothered to tweak the monitor yet. When I'm editing audio the track window is in front, with the mixer to the left. In Davinci Resolve the edit is in front, bins to the left, and the laptop is a fullscreen viewer. Since all my video goes online I may as well view it directly on a laptop screen…

https://www.videotoolshed.com/product/audio-map/

Yes, but then I wouldn't have the rest of the signal chain. The more I thought about it I realized that just getting the low cut didn't solve my entire problem; I need a low-mid cut and high boost to voice the mic. From there it just made sense to move the whole processing chain out of the computer. Besides, the 302 deserves to be used for more than just a low cut filter!

I decided that the best solution to the problem was old school- I'm getting an outboard channelstrip. I'm tired of dealing with workarounds to put software processing on my input and don't want to spend the money on a new interface with built-in DSP. I have a simple interface I'm happy with, although I never should have sold my USBPre 2- hope you're enjoying it, @tourtelot. If you ever want to get rid of it, please let me know! Next week I'm getting a vintage (as in old, not valuable) Rane voice processor: mic pre, high and low pass filters, de-esser, gate/expander, compressor, and two band parametric EQ. Since it's only for me and one mic, I can set it and forget it. My interface has direct monitoring, so I'll be able to hear exactly what's going to disk. Should be just the thing for podcasts, narration, and voiceovers. And thus my low cut problem is solved, now to make room for another box, cables, and PSU on my desk…

Can't believe I didn't think of Jon at Naiant: https://naiant.com/vpd-specification/ He has a four position mic level low cut filter that goes from 50 to 200 Hz. Looks like he's on vacation but I'll keep an eye on when production starts again. For the time being I think I'm going to break down and do it in software. I can host a plugin chain (channelstrip, de-esser, and limiter) in Apple's AULab and then route that audio into the video software. Latency is good enough, the video is only so participants can see each other while we record the podcast so sync isn't really an issue.

Sadly, it looks to be out of production.

I've got one and honestly hadn't thought about using it for this, but I'd like to avoid adding another device, power supply, and cable to my desk. A set and forget inline device would be easier.

Doesn't look like they have anything. The PSC is 3dB down at 140Hz, which is a touch higher than I was thinking. I may just get the Shure for $45 and be done with it.

I'm looking for an inline XLR low cut to put in front of my RCA 74b for podcast recordings; the interface I'm using doesn't have a cut, and I'd prefer to not muck around with inserting software between the audio interface and videoconferencing software. See, the question is kinda about audio for picture… Anything out there better than the Shure A15HP or PSC high pass in the $40-50 range I'm missing?

If you've already got your recordings down but just need automixing, you could consider doing it in post with WT Automixer. I haven't tried it personally, but have used a similar plugin that only runs in Reaper. While not strictly an apples to apples comparison, I've owned the first generation MixPre 6 and an F8n and… I no longer own the MixPre 6. I hated the user interface, and the encoder on the side of the unit drove me nuts. I've been much happier overall with the Zoom. Soundwise, I didn't feel there was enough of a difference between the two to be an issue. I'm sure MixAssist is better than Zoom's automix, but I've used the F8n automixer on livestreams with 8 open mics and it worked fine.

Haven't done it, but I've thought about it. Found this in my research: http://www.raspberrypi-dmx.org/orange-pi-smpte-timecode-ltc-reader-converter

https://apnews.com/article/new-york-los-angeles-al-schmitt-bob-dylan-frank-sinatra-01f7666d2cec9ee7c5199433541b956d

Thanks for the interest! The distro is still going strong, I haven't changed the design since my last post. I did build a new battery harness so that I can have two Talentcell batteries in parallel- the batteries have power switches, so if one gets low I can turn the other on and switch with no interruption. I used 16v 2A polyfuses.

Is there a reason why the recording has to be done on the phone? You could terminate the other end of the call on a Mac and use something like Audio Hijack to record the call.

Happy birthday!

I think at that price point most people are probably using the Oktava MK-012. The next step up would be something like the Audix SCX1-HC or similar. It seems like used prices on the Audix are close to the price of the Oktava new; a lot of people have said handling noise on the Oktava can be a challenge. I get where you're coming from- I use a vintage AKG 451 with a CK-3 hypercardioid capsule for indoor booming and the CK-8 for outdoor. Not the best but it works, I'll upgrade when/if the self noise becomes an issue.

Started doing something similar for a podcast I'm recording, where my co-host is calling in while I'm onsite with the guest. Picked up a used JK Audio Daptor 2 and set up a mix minus on a main out of my F8n, while the sub out feeds a headphone distro. Since I've never had a chance to use a 633: are the mixes fully independent? On the F8n I can route the L/R mix or a selection of channels pre or post fader, but the fader level is the same on every output. Didn't know if the 6 or 8 series has multiple mix busses with independent level per bus. Just curious.

Agreed, although it's a shame they're out of production (and some used prices are ridiculous).

@soundmanjohn, glad to see you're getting along with the Ender 3! @tourtelot, let me know if you need something printed. Happy to help you out if I can.

Seems like they're working on it: https://www.newsshooter.com/2021/03/02/rode-wireless-go-ii-export-issue-new-firmware/