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Everything posted by pillepalle

  1. Haha... I think your right. This evening I've tried to change the settings but now it adds the delay on all channels. I'm quite sure it worked for a while because I've made a couple of recordings that way. But I have no idea how I made it work and why it didn't work now. I came home late this evening. I'll give it another try on another day. For now I can't make it work... Greetings
  2. I've bought mine in April this year. There was once a firmware update, but as far as I know no modification on the units. It's a little fiddly to set it up correctly and I also had to make a couple of tries. Here are some snapshots of my settings. The analogue audio comes in on channels 1+2 and the camera audio on channel 3+4. Usually I feed a timecode-signal from my tentacle sync to channels 1+2 and the camera audio goes to channel 3+4. I hope this helps Greetings
  3. In this case I guess your settings on the Atomos Ninja V are wrong. I also use it and I'm able to set a delay on the analogue input that doesn't affect the sound coming with the HDMI signal. It get them both perfectly in sync.Like you've mentioned - it would make little sense to add a delay on both signals. Greetings
  4. These kind of things can happen to every manufacturer. Products these days are complex and production cicles short. But in this case I agree with IronFilm. Or something works properly, or it doesn't. It's simple like that. Greetings
  5. Why don't you simply sync the first audio file to the video footage and append the other audio files to the first one manually? The recording should be without gap (if the audio was splitted by the recorder) so you don't have to sync each audio track seperately. If you have different video files you have to do this operation once for each clip. Maybe someone else has a better solution. Greetings
  6. You might consider the new DPA 2028. Costing about the same as the Neumann KMS 105, with interchangable capsules it seems to be a good choice for your application. Greetings
  7. @ Werner Althaus Yes, they mainly use them on vocals. Greetings
  8. Cinela is probably the best solution around, but for people like me that are no full time professional sound guys and on a budget it's hard to justify the investment. Using an MHK 8060 and spending more than the cost of the mic for the Windshield/Suspension (with accessoires) makes you thinking about the benefits of the Cinela and the downsides of a cheaper solution. So I decided to go with a Rycote System and it works fine for me. I know that there are better mics and windshields around, but I also know that my work has a much higher influence on the result than any brands product Greetings
  9. The microphone choice on the NPR concerts is due to the small distances of the musicians and crosstalk. But it's a good example that the most important things on a recording happens infront of the microphone Greetings
  10. As far as I know on the GH camera models that have the same timecode feature the timecode sync isn't accurate. It's always a couple of frames off sync. I have no idea if they fixed that in the S1H, but honestly I wouldn't rely on that. Better to use the tentacle sync on one the left audio channel of the camera (with a splitter cable) and use the right channel as a mic input. Or going directly into the mic input of the camera (without splitter cable) using the tentacle mic as scratch mic. Greetings
  11. @ constantin If they couldn't be synced to other devices what sense would make the inbiult timecode generator? As far as Ulli from Tentacle mentioned bluetooth is not ideal for time critical applications and that it's reccomended to jam the units via cable. For monitoring purposes bluetooth is okay because they refresh the signal only once a second. Maybe they can't jam other devices so the classical Sync E is used on devices that usually have no timecode option. But it seems we have to wait and see... Greetings
  12. I have also a coupe of concealers but my favorite mounting option is to cut an ursa foamie in half and attach it with a sticky. Works perfect on a variety of mounting places. Because of the protection of the foam I never get any clothing rustle. They are available in two colors (black and white) and two sizes (foamies and mini foamies). I use the regular ones. Just prepare them in advance and you can rig them quick and easy. Here's a short demo... Greetings
  13. @ daniel It should work. If they can be synced (probably via the mic input) they should also be able jam other units. But you're right. In their demo videos it's not really clear because they don't show how they get synched and they use normal tentacles for the camera. But even if they just can be jammed, it wouldn't be a dealbreaker, because you can simply use a the TC of the camera or field recorder, or jam a normal tentacle on them. On the Gotham Sounds YouTube channel they have had a nice demo video of the normal E units that shows the saftey features of the bluetooth technology. So it alerts you when one unit is out of jam, you set the wrong framerate, or the input connector is not connected. Greetings
  14. Here is a first impression video from the ibc. Nothing really new to know, but at least a quick look at the app where the levels can be checked and also set via the app. Greetings
  15. It was just an idea, because mine sounded on the tascam as crappy as yours. Greetings
  16. What kind of connector do you use? I had ordered a dpa 4060 with a fixed 3.5mm jack some time ago and it didn't work with the 3,5mm jack on the Tascam DR-10CS (Sennheiser Version). Strangely enough it worked perfectly fine on other Recorders with 3,5mm jack, like a Zoom H1 for example. Kortwich told me that the DPAs don't work properly with the Tascam recorder and have to be modified. But the better solution would be to pick up a Sanken cos-11 and so I did, because I wanted to use the Tascam Recorders. Some manufacturers seem to make strange wireings on some of their connectors. Greetings
  17. @Elusive Sounds Yes, that's what I was also aking myself. In my optinion a direct mic/line output would have made more sense. Who's going to monitor with headphones when the unit is on the talent Greetings
  18. I guess the timecode will be already in the file (probably a braodcast wav file). It's a timecode box with recording capabilities. I just get the infos from an e-mail from Tentacle Sync. On the ibc they will present it and hopefully you get more infos on the devices. Greetings PS: Heres the original e-mail message: Finally it’s here! After months of hard work, we are proud to present you our new product: The Track E. Come visit us at IBC 2019 (Hall 8 / booth B03) for a first introduction of our super mobile audio recorder.The Track E with synchronization over bluetooth and 32 bit floating point technology is the newest addition to our Tentacle Sync family. It is nearly as small as the Sync E, so it can easily fit in your pocket for recording on the go. This allows mobile operation for example as a recorder for a clip-on microphone eliminating the need for a radio-link. It offers synchronization over bluetooth based on our well established Tentacle Sync technology. After an initial syncing process the Track E devices run independently with less drift than one frame within 24 hours. This means that the Track E will work in environments where regular wireless transmitter fail. Controllable through an app for iOS or Android, it seamless integrates with other Sync E and Track E devices. But the Track E does not necessarily need a Sync E device to operate – it can easily function as a stand-alone device. As soon as the device is turned on, it will be recognized by your Tentacle Sync setup app and can be configured wirelessly. The Track E uses 32 bit floating point technology for recording the audio for a significantly enhanced dynamic range. This means that the gain of the recorded audio doesn’t matter. Audio that was recorded too quiet, can be raised in volume to the desired volume without raising the noise floor. 32 bit floating point also means that no digital clipping will occur, making the Track E a versatile set-&-forget-device that will always deliver high quality audio. You can treat audio in a similar way as photographers use the RAW camera photo format – all details can be adjusted in post production, significantly reducing the preparation time before you start shooting. We designed the device specifically with YouTubers, documentary or wedding filmmakers in mind, but even if your are working on a large-scale production you can benefit from the Track E as a no-frills backup device. The Track E uses a changeable SD card for recording the audio. An input limiter and a high-pass filter guarantee for pristine recording quality. A screwable mini jack connector offers maximum security for connecting microphones. The Track E features adjustable plugin power for supporting a wide range of microphones. A free license of Tentacle Sync Studio is included with every Track E purchase. The Track E will be available in Q1 2020. In addition to the regular Track E, there is going to be a bundled version with a cost effective lavalier microphone as well.We hope you will like it as much as we do. Looking forward to meet you at the IBC in Amsterdam...All the best from Cologne, Max, Ulrich and the Tentacles!
  19. Tentacle Sync annouced their new Mini Recorder Track E, that will be available in the first quarter of 2020. It has lockable microphone input, with an input liniter an highpass filter, adjustable plugin power to support a wide variety of lavs and records to miniSD cards in 32bit floating point (set and forget). It has a headphone output and can be connected via bluetooth to the app. It is a stand alone device that doesn't need a sync E device to operate. Prices are not announced jet. Greetings
  20. On the Facebook site Helmut Wittek mentioned they will be 849U$ in the states an there are already some cinella mounts for the CMC1 available. Greetings
  21. Wow, some really nice microphone amps from Schoeps: More Infos on the Schoeps Website: https://schoeps.de/en/products/colette/microphone-amplifiers/cmc-1.html Greetings
  22. There is only one thing that Zoom seems to solve smarter. They claim that the Zoom F6 is able to record 24 and 32 bit simmultaneously. So you would be able to give your client a 24bit recording, if he prefers that for his workflow. Greetings
  23. Thanks! It's good to know how to open them and what kind of battery is inside. Even if the guys from TentacleSync are located 30 miles from my hometown. So to get the repalcement battery kit would be easy for me anyways Greetings
  24. Basically the concept of 32 bit folating point is that you capture the whole dynamic range you have before the ADC (like 142dB) by mapping the maximum gain to 0dBFS and to put it into a much larger digital container (with 1542dB of dynamic range) after the ADC. So afterwards (on the digital side) you have a lot of freedom to push and pull the signal without adding noise or clipping. Greetings
  25. I use 4 of the first generation Tentacles, because I got a really good offer when the new ones where already launched. I didn't mind to not be able to monitor them via bluetooth, because they work quite fine. But the scratch mikes of the first generation units are crappy. I think it was the first Kickstarter project that made timecode afordable for indie filmmakers and really small. After that the other brands also launched more affordable and small units. If I want to upgrade one day I think I will also go for devices with genlock and LTC. Actually I have no real need for that. Greetings
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