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About borjam

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    Bilbaina Jazz Club
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  1. Looking at the photo, it seems you can disconnect the preamplifier or even insert an attenuator depending on the gain you choose. Of course provided the block diagram really describes it. However, I guess the gain selection switch might need DC power in order to operate. I don´t see a photo of the switch itself. But in that case you can use a simple bias-tee like this one. https://www.amazon.com/Bias-Tee-10MHz-6GHz-Broadband-Frequency/dp/B07RZSPQD9/ref=sr_1_1?keywords=bias+tee&qid=1570475344&sr=8-1 Of course, this is just an educated guess. Beware active antennas without filtering in front of the preamplifier though. HTB1xeBlaojrK1RkHFNRq6ySvpXaF.jpg.jp2
  2. I am pretty sure it's not the case. The problem is, really, you can't blame them. Anything touching consumers nowadays (and SD memory cards are!) is a bloody jungle.
  3. I am not using them myself but I have a MixPre 3 and its maximum sample rate is 96 KHz. That said, some comments about SD cards. - Counterfeits. Sandisk is much more likely to be counterfeited. I have several Sandisk ones and so far I've been lucky. But with Sandisk you have a risk of getting a counterfeit. In theory Amazon is a safe seller as long as you are buying from them instead of a third party vendor. But I've read confusing reports about inventory commingling. - Specification stability. The cards sold by Sound Devices are probably manufactured by Sandisk but (this is an educated guess) I imagine they have a contract against unexpected component or specification changes. So with a SD branded card you are less likely to suffer a nasty surprise. - MixPre II. Again an educated guess, but they are using a more powerful SOC (system on chip) which means that it will have resources to be more resilient against memory card hiccups. All that said, Compact Flash is orders of magnitude more robust but it's much more expensive.
  4. I haven't ordered in ages, but at least several years ago Sony was really good at providing parts. I would begin by asking the nearest Sony official service. At least in the past they had some service centres that also were the part distribution points. Of course they didn't stock most parts but their logistics system guaranteed that they would supply it even if it had to be brought from Japan. It was only a matter of time, from a couple of days to a week or several weeks.
  5. That is pretty clear It will make your life easier, but good audio will still require a pair of ears and some quality gray stuffing between them. Remember the common language version of the 1st Law of Thermodynamics: "There's no free lunch".
  6. Well, for example that headroom gives you freedom from clipping the stereo mix if you raise the levels of the mix faders too much. Yes, it’s a huge headroom. But sample formats don’t usually come in tailored sizes, like “I need 27 bits”. And if they are using the arrangement to increase the resolution of low level signals, well, that’s an improvement.
  7. That's a good question. Maybe the SOC they used for the original series was too limited and the ones in the series II have more power. The preroll time has been increased to 10 seconds, it's a good hint.
  8. I'm one of the skeptics except for this phrase in a Taperssection post by Paul Isaacs: Having said that, for the majority of sound recording applications and for those who know how to gain stage, 24-bit has always been way more than enough to capture high fidelity recordings when combined with high quality, low noise/low distortion microphones, preamps and ADCs. That hasn't changed. So then, why the big deal with 32-bit float files ... Of course, nothing wrong with making life easier for the user! I can imagine lots of situations in which this can save a lot of time, I guess for example FX recordings. But remember, your dynamic range is limited by the microphone and the noise floors of every step in the signal capture/processing chain. I can imagine the greatest benefit of the 32 bit files will be that you can't overload the L+R mix, something that can indeed happen with 24 bit files despite having clean, properly recorder ISOs. Of course not a sad day for me, happy owner of a MixPre 3. It's great to see that the line is being successful and SD are committed to develop it further.
  9. Oh sorry, silly me. He doesn't have any wireless audio specific stuff but maybe he can design custom equipment. https://www.jghitechnology.com/gb/
  10. Speaking of filters, I stumbled upon a small company in Italy (I think it's a one man show) that makes some really nice ones. I just purchased a FM broadcast notch filter for a project at the university and the specs are unbelievable. Although he lists several filters on the web page, I think he can make custom ones. Not the kind of filter needed here (our challenging use case, a wide band listening post which comes closer to ingelligence gathering operations than motion picture filming) but the attenuation figures at 108 and 118 MHz are pretty spectacular. ZNL_ScreenShot_2019-05-29_10-41-37.PDF He was slow to ship (took longer than a week) but I think this filter (which is not listed on the web page) was custom built on demand. So no complaints in that department. And the prices are very good.
  11. Although I am sure top manufacturers include extensive filtering, filtering is still mandatory if you use some kind of amplification. For example if you use splitters, which imply some attenuation, you may need an amplifier between the antenna and the splitter. And that amplifier should always have a properly filtered input. Otherwise all kinds of evil can happen.
  12. I think he was Gordon Willis? I recall I read an interview somewhere where he admitted that he overdid it in The Godfather
  13. Specs wise the Rode NTG3 might be at least close. I imagine the sound will be different but unless you are recording dialog it probably won't be much of an issue. I own a NTG8 myself and it works very well outdoors. I also did a brute force test of RF immunity and I must say both the NTG8 and the MixPre 3 passed with flying colors.
  14. Sorry to chime in late, It's being a really hectic week (my father passed away on Sunday) so I didn't follow the news much. The vulnerability is a serious design flaw because it launches a web server in the user's computer. That server is only accessible form the local computer. You can't connect to it from the Internet, but it's possible from a program running in your computer. So it is still available, for example, to your web browser. Remember that web browers are not just document viewers. Many years ago a programming language was added (JavaScript) so it can be a dangerous combination. Although Zoom's response to the first disclosure was far from stellar (at first it seems they were unable to understand why launching that web server is an Extremely Bad Idea™) they have now released an update that solves the issue. Getting rid of the software is also easier thanks to a comprehensive uninstaller. Some colleagues who were using it have confirmed that indeed the web server is done. And hopefully Zoom have learned a hard lesson.
  15. Have you seen that Rycote sells larger Lyres for thicker microphones? https://mymic.rycote.com/products/lyre/modular-lyre-upgrades/pair-of-duo-lyre-72-19_34-with-adaptor-screws/ The ones I used are designed for 19 - 25 mm diameter mics.
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