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TomBoisseau

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Posts posted by TomBoisseau

  1. Someone here, a long time ago, said they were using what was considered a technically slightly oversized Pelican case for "carry on" and said they had neve been stopped.  I'm curious what model that might be.  Many cloth carry on bags when "stuffed" often do exceed the posted dimensions, but I've never seen anyone stopped for that. 

     

    Tom

     

     

  2. 22 hours ago, Donavan said:

    Tom people have told you about dynamic range about compatibility about the wish list of wireless transmitters, the best transmitters are made by Zaxcom. You sound like you want something for your career not to just get buy. It wasn’t long ago I used Zaxnet to re- mix the transmitters (4 units I think) so the mix was perfect for post and dailies. You can’t do this with any other transmitter, Zaxcom with neverclip is so good it actually makes you a bit lazy when the actor is whispering then screaming you can always turn down the transmitter gain with Zaxnet but anymore almost no one can yell louder than the dynamic range of Zaxcom transmitters with neverclip. Not to mention they are really small actors will love you for using them, not to mention the RX12 gives you 12 channels of audio in a package that will pick perfect frequencies with a Zaxcom recorder. All this to say there is no competition because of the dynamic range reliability and great guys who will always listen to your ideas about refining the transmitters with software.

     

    I'd be more than happy to go with Zaxcom and, yes, they do have a number of additional features that I would really like to have such as encryption and a built in recorder.  The only serious objection I have is that I don't believe they offer a true discrete 2 channel "Super-Slot" receiver.  Do they?  Right now with my current configuration using Sound Devices recorders, and the need to frequently pull the receivers out of my bag and repurpose them for live sound events and webcasts, the "Super-Slot" issue (believe it or not) is probably a higher priority.

     

    Tom

  3. 8 minutes ago, VAS said:

    My main concern about A10, is the size of transmitter. Otherwise is a complete system.

     

    Ah!  Very good point.  For some reason that never crossed my mind.  I'm not sure that would be a deal breaker, but it is certainly something to consider.  Thanks.

  4.  

    I will likely be purchasing 8 channels of wireless in the near future.  I've always been a Lectrosonics guy and currently have 6 SMV's and 3 SRb's all on block 26.  I don't want to try to "re-block" what I have, and so I see this as a good time to purchase something new.

     

    I've been quite happy with the Lectrosonics products and support but, being that I use Sound Devices recorders and that Sound Devices now owns Audio Limited, I wonder if I should consider Audio Limited and what the pros and cons there might be.  Perhaps my biggest reason for considering Audio Limited is the concern that Sound Devices might give priority to Audio Limited products in the future with special features and programming built into the firmware of their mixers that might not be available for Lectrosonic products.

     

    I assume my Lectrosonics "OctoPack" should work with either the Sound Devices or Audio Limited "shot in" products?  How is the support here in the US for Audio Limited products?

     

    Any thoughts and insights into this subject would be appreciated.

     

    Thanks,

    Tom

  5. Has Denecke stopped making the TS-TCB?  At least one site says it's "discontinued", and another site says "limited quantities remaining". 

     

    I'm growing increasingly interested in the Timecode Systems line, especially the Ultrasync One (although I do wish they had chosen a different connector).  For my purposes I think the TS-TCB, the Ultrasync One and the ":pulse" would make a great system!

  6. That's a tough call!  

     

    Frankly, I have worked with some wonderful, kind, "good ol boy", small producers that operate just like that.  They are obviously accustomed to a simpler style of production and usually from a very small market where everyone is buddy, buddy.  Generally they just "don't know better", but are terrific people.

     

    On the other hand I've worked with others just like that who had every intention of taking advantage of me.  It's hard to say.  Either way it can be a little tough on the pride.  None the less, the ones that were legitimate and like that, I usually really enjoyed working with them.

     

    Tom

     

     

     

  7. On ‎12‎/‎29‎/‎2017 at 1:54 PM, Matthew Marzano said:

     

    When the 664 came out there was an approved media list with a San Disk Ultra 64gb SD card on it. After awhile the card was removed from the approved list. I only bring this up because I'm assuming they tested the card rigerously prior to approval but then several months later had to delist it after some issues arose. So even after the testing you've done, I'd still be weary. That being said, I believe Scott Farr (he posted it on JW a few years back) was using unapproved Lexar media without issue, so it can happen. Good luck. Keep us posted. 

     

    PS. The other part I'm curious about is why not just use the 64gb approved cards? According to SD's audio calculator you'd get over 8 hours 24/48 wav files when recording 16 tracks on a 64. 

     

     

    Well, the 688 is saying 15hrs for a 128GB card.  I might be able to get away with a 64GB card, but that wouldn't give me any wiggle room for some of the "all day" events I've been doing.  128GB is much safer (assuming of course that it works reliably). 

     

    So far the Sandisk Extreme 128GB SDXC card (UHS-1, 90MB/s, 600X, model SDSDXVF-128G-ANCIN) seems stable!

     

    Tom

  8. I really need a 128GB SD card for my sound Devices 688 and 664, however the "approved" 128GB SD cards are no longer available.  

     

    So I decided to order a couple Sandisk Extreme 128GB SDXC cards, UHS-1, 90MB/s, 600X, model SDSDXVF-128G-ANCIN.

     

    I have begun to test the card by recording to it until it is full, using my 688 with 16 channels "armed", tone generator turned on, automixer (Dugan) turned on, and occasionally going over to the 688 and turning a bunch of knobs and fiddling around with the menus.  After the card is completely full and the recorder stops, I do a quick format from within the 688, then I start over and do it again.  So far I have "filled" the card and reformatted 8 times (about 15 hours and 3 minutes record time), and best I can tell all appears to be okay.

     

    Any suggestions as to what else I should do, or consider doing as a "test" before I put these cards into service?

     

    Thanks,

    Tom

     

     

  9. On ‎11‎/‎30‎/‎2017 at 10:09 AM, TomBoisseau said:

    I would really like to know of some reliable (aka approved) high capacity SD cards (say 128gb) that I could use.  I recently did an event where we were recording 12 tracks for nearly 10 hours, and it's looking like I might have some more of these with even a greater track count.

     

    I have no problem with Sound Devices selling their own "approved" cards, but for goodness sake, give us something bigger than 32gb!

     

    It looks like I can still get the approved Sandisk 128gb CF card, but it appears the 128gb SD card is no longer available.

     

    Tom

     

     

     

     

    So... anyone know of a 128gb SD card that works reliably?  None of the 128gb SD cards on the "approved" list are currently available.

     

    Thanks,

    Tom

     

     

  10. Christian,

     

    Thanks for posting that.  It may prove quite useful, however, as I view the link for Belarus, it does not seem to specify what frequencies may be used for wireless microphones.  Perhaps I'm just misunderstanding how it's "phrased".

     

    Tom

     

     

     

  11. I would really like to know of some reliable (aka approved) high capacity SD cards (say 128gb) that I could use.  I recently did an event where we were recording 12 tracks for nearly 10 hours, and it's looking like I might have some more of these with even a greater track count.

     

    I have no problem with Sound Devices selling their own "approved" cards, but for goodness sake, give us something bigger than 32gb!

     

    It looks like I can still get the approved Sandisk 128gb CF card, but it appears the 128gb SD card is no longer available.

     

    Tom

     

     

  12. Anyone have a source for legal wireless mic frequencies in Belarus?

     

    I've been searching and having no success.  I contacted Shure in the USA, who told me to contact Shure in Europe, who told me to contact the authorities in Belarus (I have no idea who that would be)!

     

    Tom

     

     

  13. Cujo,

     

    So are you saying you no longer use the "factory" USB cable?  What are you using then?  I thought using the factory USB cable was pretty important because of that large "choke".

     

    When this happened to me, I did NOT use the headphone cable from the 688 to the CL12.  I just plugged my headphones directly into the 688.  Do you suppose that could have anything to do with it?

     

    Thanks,

    Tom

     

    Tom

  14. Just had this message appear today while shooting a LONG meeting.  The unit was recording on average about 2 hours, then a 15 minute break, then 2 more hours, then lunch, then 2 more hours, then a 15 minute break then 2 more hours.  

     

    I was using the Sound Devices 688 with the SL6 and the CL12 control surface.  I used the supplied USB cable to connect the 688 to the CL12, and used an external AC to DC power supply that was connected to the SL6.  I also had an NP-L7S in the SL6, but had the priority set to "external" supply.  I did NOT connect the 1/4" TRS cable to the CL12.  I connected my phones directly to the 688.

     

    It all worked fine until the last 3 minutes of the day, when the message below appeared.  Now I realize that if using a 664 or 633 with the CL12 it is necessary to supplement the power to the CL12 using some external USB power supply, but I was of the belief this was not necessary with the 688.  Fortunately, I had with me the appropriate USB power supply.  I quickly ran for it (while the event was still going on),  plugged it in, and the message went away.

     

    Immediately after the event I called Sound Devices.  They told me there are now recommending users of the 688/CL12 combo ALWAYS use the micro USB power input in addition to the USB cable from the 688.  I said, does that mean others have had the same problem?  The answer was yes.  

     

    Have others here found that to be true?  Do you always need to used the micro USB power input?

     

    Thanks,

    Tom

     

    [Edit 11/5/17]  I failed to mention, I did have a small USB keyboard attached to the CL12.

     

    IMG_1607.JPG

  15. I've been doing quite a few podcasts for a company in the Atlanta area.  Typically they involve 3 people at a time.  I just put lavs on them.  I considered using mics on table stands for more of an "FM radio" type sound, but the people on these podcasts are "amateurs" and not accustomed to doing this.  My fear was they'd never get close enough to the mic, or they'd move around too much.  Granted it's not the pristine sound I'd like, but it is practical, and the client keeps calling me back!

     

    I usually record with the Sound Devices 633 using the Dugan automixer.

     

    Tom 

  16. I took a trip recently to the country of Belarus.  A soundman at one of the local churches asked me if I could help him get a couple handheld wireless mics.  Considering their lack of funds and resources, I really would like to help him out.  They don't need anything real high end, a G3 or even something slightly less quality would do.  The problem I'm having is trying to determine what frequencies are legal and bands might work the best specifically in  Minsk, Belarus.  

     

    Anyone here have any insights regarding this matter?  I would certainly appreciate it.

     

    Tom

     

     

     

  17. I just purchased a "version" of this mixer.  It's the SKP D-Touch 20.  Unlike the Studiomaster the D-Touch has recallable mic pres.  I don't think I would use this for serious location recording, however I do see a place for it in doing a small PA set up or webcast.  And yes it does run off of 12VDC. 

     

    I've only had it a few days, but my initial impressions (given it's size and price) are positive.  I will likely use it for small corporate events and small webcasts.  It has 12 mic inputs, with 4 of them being combo 1/4" & XLR, 2 stereo inputs on L/R 1/4", as well as SPDIF in/out and AES out.  In addition the unit will playback and record to a thumb drive.  They have an ipad app as well, which seems to work well, howbeit the range is somewhat limited using the included "dongle". 


    Every input has recallable trims, gate, compressor, delay, high pass filter, and a 4 band eq with variable frequency and "Q".  It has 4 mono busses (1-4), 4 stereo busses (5-8), and left/right bus.

    The busses also have the same eq, gate, compressor and delay.  Additionally mono busses 1-4 can be sent to the stereo busses 5-8.  Any of the busses and be assigned to any of the 8 XLR outputs. 

    So, is this a "high end" unit?  Certainly not!  It kind of reminds me of a version 1 or 2 QSC TouchMix, but with faders.  Actually, it will do things the original TouchMix would not!  However compared to the current version of the TouchMix, the TouchMix does more.  All that being said, to have faders, and in a nice small form factor (it's bulk is probably about 1/3 to 1/4 that of my Yamaha 01v96i), I'm going to be able to make this work. It measures about 16 3/4" x 13 1/4" x 2 3/4", and weighs 7lbs!

    If your interested, it's being sold on only Amazon and ebay.

    I'll post an update as I get a chance to use it more.

    Tom

    This demo is for the Soundking DM20, but it seems identical to the SKP D-Touch 20:
    https://www.youtube.com/watch?v=lLqX3URhho8&t=2s

    The SKP D-Touch 20 can be purchased on Amazon or eBay:
    https://www.amazon.com/SKP-Pro-Audio-Touchscreen-20-Inputs/dp/B074HR19H4/ref=sr_1_1?ie=UTF8&qid=1503698255&sr=8-1-spons&keywords=d-touch+20&psc=1

    http://www.ebay.com/itm/SKP-Pro-Audio-D-Touch-20-Digital-Mixing-Console-Touchscreen-WiFi-20Inputs-15Buse/172805211031?ssPageName=STRK%3AMEBIDX%3AIT&_trksid=p2060353.m1438.l2649



    D-Touch 20 iPad App:
    https://itunes.apple.com/us/app/skp-d-touch-20/id1227302566?mt=8

     

     

     

    SKP D-Touch 20 (my unit).JPG

  18. I built this a couple years ago.  It's not as pretty as a lot of other's work here, but it does exactly what I needed, and seemingly what you need to do.  There is a small coaxial power input on the bottom of the project box that is feed from a Trew Audio NP1 cup, thus this contraption also serves as a "power distro", howbeit without and electronics or isolators, only a fuse. And lest you scold me, the power switch has a locking mechanism, so its not going accidently turn off.  None the less it has worked well using not only the Lectros, but also in powering a couple Sennheiser G3's.  

     

    Tom

     

     

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  19. 2 hours ago, chrismedr said:

    since so far I only use hops for scratch and not production audio, and I'm never far away from camera:

    Sennheiser G3 for scratch and tentacle for TC.

    simple, small and light weight

    chris

     

    I also use the Sennheiser G3's, mainly because the same signal can be sent to IFB's (IEM / in ear receivers) and also the hops.  I will confess however I rarely do hops.  For timecode I use the Mozegear TIG Q28, which I have liked a lot, however I think I'd like to replace them with something that has a display for ease of use.  The Denecke Dcode SB-4 is how I'm leaning now, or possibly the Betso TCX-2.

     

    Tom

     

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