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Actualsizeaudio

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About Actualsizeaudio

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  • Birthday 03/31/1972

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    Canton, CT
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    Workaholic

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  1. If anyone ever wants to hear an example of poorly executed noise reduction done in post, please watch the video above.
  2. I've had very good luck with my Lectro SMA transmitters and moisture as well.
  3. Are the new transmitters resistant to moisture?
  4. Yeah, and I'd love to know what is the lesser of those two evils. The analog components on the newer line of Sony cameras has been the same since the EX3, and I think they sound lousy. Cheap A/D conversion can really suck the life out of things, and I've heard it in here first hand, especially with those cameras. If it does have a realtime SRC on the input, I'd be curious how good it is. As we all know, when they design the audio circuity of these cameras their main concern is power consumption/size/cost. I'm not sure performance is one of the considerations.
  5. Jeff, later this week I'll make some comparison files for that thread if you make it. I recorded some operatic music today in the city (with my Nomad) and I can re-record it though some stereo wireless transmission. I think it would be a nice test case and could help add some clarity to the conversation. I have a bunch of other technical questions I would love to raise in that thread. The issues with 32k are not as simple as some people are making them out to be. I too think this thread should stay focused on questions regarding the new developments in the technology. Do any of the rental houses have these puppies yet? Also, how close to the talent do you have to be in order to use the zaxnet features?
  6. I can explain it to you, but I can't comprehend it for you. Some of us want to know what's going on inside the units for technical reasons within our workflow. You don't think we should care, or just use other gear (that we don't own). I guess we will have to just leave it at that.
  7. And while this issue is valid, it IS overshadowing the real issue of the awesomeness in these new products. I'm getting some. The fact that I can tell a frequency coordinator I can be anywhere within a 4 block range is a GAME CHANGER!!! It's friggin epic.
  8. Refer to the rest of my post. I detailed where the issues are for myself. Others may have issues as well, and I would guess it would be with using gear with no real time sample rate converters, like say my ULN8.
  9. There is no such thing as an AES DAC. A DAC is a digital audio converter. AES is a digital signal that does not come in contact with a DAC. Look, this is a very valid question Paschal has and there should be an honest answer. I have a very high end studio and I have tested out my zaxcom digital camera links. They sound excellent. I certainly do hear a difference between short line level cable and stereo digital wireless transmission. That being said I think the "rivals" cable is fair marketing speech honestly. Now, here is where more info is better: If the DAC is running at 48KHZ but has a sample rate converter in front of it, then there is good reason to stay AES and avoid sample rate converting till the very end of your chain. I can hear sample rate converters in my studio. I can NOT hear them through headphones. But if there will be a sample rate convert at the end of the chain again, then I would not want one also happening at the DAC. All in all more info equals better decision making when dealing with technical decisions. Tomorrow I'm recording the Philadelphia Opera singers. There has been a push for me to send wireless signals to cameras not really accessible enough to get cable. I'm refusing. I'm going to force them to use the recording I'm going to make. I know the transmission would make a sonic difference and I'm not giving them the opportunity to use anything less than the best possible sound. I'm doing this because I have the opportunity to hear my gear in a critical environment. Most people don't have that opportunity, which is why they need to be properly informed. If tomorrow's gig was a dialog gig I would send wireless to the cameras without a moment's hesitation.
  10. So, am I correct to deduce that the DAC is 48khz, but that it is up sampling a 32khz signal? I believe this is how all of the Zaxcom stereo transmissions work, even the gold line systems. Just curious. Correct me if I am incorrect.
  11. I have the first production Nomad. I had been using Sound Devices products for years, and still do use them. In the early days of the Nomad firmware I suggested a bunch of ideas, some of which didn't make it, and some did. One of which was the idea of having the slate be called up by the TC button. I suggested that to him after being on a shoot where we wanted to use it, but we couldn't get to that screen fast enough for the shooters. He said: "wow, that's a great idea, I wouldn't have thought of that". Now, it's a feature I use with some regularity. Honestly, I can't think of the point of your post other than to attack someone you don't like. The only person who is going to design the perfect recorder for you is YOU. Good luck with bringing it to market.
  12. I've had enough issues with my Nomad on shoots with long rolls where I use my Metric Halo ULN8 on those types of gigs. I was doing a show where the rolls were more than an hour long. Since I couldn't lock the Nomad to WC, I would have to pull my files into Pro Tools at the end of the day, and make new files. What would happen was since I was jamming to external TC, and not external sync, the files would overlap or have a gap in the offline editing timeline, be it Avid or Pro Tools. I would have to butt the files up against each other, and export them. It sucked, so I stopped using the machine and pulled out the Metric Halo which obviously can lock properly to an external device. In the early days of the Nomad Glenn mentioned that the machine would be able to resolve sync from external TC much like a MOTU digital timepiece. Not sure if that development has been pushed aside. I put a post up on the Zaxcom forum asking about it. We'll see if it gets any attention. Back in my 788T days I had this happen, and this was in fact the case. I lost about 4 seconds only.
  13. Has there been an update on Zaxnet power? Does it approach the power of an IFB100?
  14. Stay away from these. There is a little wind screen in there that comes loose, and rattles around. Makes the mic useless. I'm not the only one to have that problem. Too bad because I thought it sounded nice, and was reasonably priced. As for the pin mic, the new one is nothing like the old one IMHO. Too bad. I love my old ones, but I'm so afraid of losing the capsule, that I rarely use them!
  15. Hi Damen, That is a good question. Since I got my Nomad I haven't used my 302 since it doesn't record. I just don't do anything without recording it anymore. A good friend of mine even got a call weeks after a job hoping he had recording the audio on his shoot. Her edit system crashed, and somehow the video came back and not the audio. Crazy stuff happens. I just like the idea of having a transmitter with no RF bleed that I can easily throw into record. I WOULD like to use my 302 on jobs where I'm only booming for hours on end. I still get those from time to time. The TRX900AA, even with the front buttons putting it into record, is too cumbersome for me. The auto load works well, but I'm on a lot of shoots with toy cameras. I also like the idea of a 2 way zaxnet system with my nomad bag. The AES seems very cool as well. BUT I might not do it in the end. I used my TRX900AA system today. It worked really well. made me think twice. There are other needs for me coming up, like Pro Tools 11 for both my my PT systems. Now THAT I'm really, really excited about. Still, I'd love to hear from users of these transmitters as mic transmitters as to wether or not one is heads and shoulders over the other. I'd also like to know how well they work with Sankens, since that is what I mostly use.
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