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Dustin Moore

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About Dustin Moore

  • Birthday 01/01/1

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  1. New experiment with the F8N in internal free run mode. This is a test to see if the wordclock running the A to D's and the LTC generator are locked to the same clock. I took the LTC out port and wired it to the mic input and let it record it's own timecode for an hour. I used libltc's dumpltc.exe program to extract the locations of the frames in the sound file and then I plotted the rate of change of LTC relative to the samples using some Python that I came up with. Drop frame timecode arithmetic sucks. Anyhow, the slope of that line was indistinguishable from 1 out to the number of decimal places that the experiment would allow. It is better than one part per 10^8. I believe the F8N has an LTC out that is hard-locked to the wordclock it is using.
  2. I located a Zoom f8n. It will generate LTC that is internally locked to its wordclock. Done. Previous gear to eBay.
  3. On the dynamics, I did use a Heil PR40 for my main pair on everything for the longest time. It was alright to good at everything below 8 to 11 khz. I probably should just get one for bass reinforcement. I imagine the RE320 is similar. Still, I probably should test a PR40 or equivalent dynamic versus a regular omni condenser in this bass-support role. I had a MKH 8040 pair out for fireworks one year and it was a no-go as a main pair. I think I was overloading the preamp in the capsule or the equivalent. In post I was not able to salvage anything, too sensitive. I would not be able to use this in the bass reinforcement role. The really nice SDC omnis are a bit expensive for my risk tolerance. I sometimes things get messy, wet and I sometimes have to leave the sound rig without being completely secure.
  4. Is a pair of DPA 4060's in a blimp close enough? I some of those on hand. I used to own some MKH8040's (cardiod) and those were neat for everything but booms in the wind. Good idea, I don't need the high frequencies at all so I could go wild with the windscreen. maybe 10 inches of foam and a fur on the outside would be called for. It looks like I'm going to Michaels [a craft store in the U.S.A.]
  5. Hi all, does anyone have any ideas for an effects mic for recording just the bass in a medium windy environment? I have a separate conventional pair for everything above 70 Hz that I love but by the time I get done rolling off the wind noise there isn't a satisfying thump any more. I record a lot of deep fireworks-explosion type sounds at distance and I am looking for something to fill out the data for the LFE channel. I am far from the explosions so think "lightning at 1.0 mile" loud rather than "lightning at 150 feet"-type loud. The problem is coming up with something that is wind-resistant. I have used Heil PR40s for everything in the past and the bass sound out of these was acceptable to good. I have considered getting a speaker cone and then mounting that facing the ground so that the wind would not act directly on the diaphragm as much. I suppose this is sort of what is happening with the infrasound recording setups like this. Anybody have any experience recording good bass in the field in windy environments?
  6. Update: I put together an experiment where I fed the composite black into a $12 composite to HDMI converter. I am certain that the HDMI converter was creating a signal before I plugged the composite black in so, consequently, it is extremely unlikely that the HDMI was in sync with composite black and the clockit. I think I am just going to send Zoom or sound devices some money for a recorder that can output LTC itself. Thanks all,
  7. Thanks for the comment! Yeah, I guess I could split the audio file on a regular basis, let the editing software align using LTC, and then just fill any gaps with room tone. I should just get a Sound Devices ****T for the week. If they come out with a MixPre 3T, I would be all over that. I used to have a 702 without the timecode board. I was so close.
  8. Here's what I have: Ambient Lockit 202CT and a Tascam DR-701D recorder. Here's what I want: I want a LTC audio signal that is drift free (relative to the wordclock) of the BWF in the DR-701D. Why I want this: I need to make an 8 hour continuous audio recording that can be easily(ish) synced in post to 5+ cameras that are all turning on and off at random. Each camera will record the LTC to an audio track. The duration of each video track will be so short that the difference between each cameras clock and the wordclock/LTC is sub frame. Plan A: If I took the tri-level sync and wordclock from the Lockit and had a magic box that could make SDI+audio, I could turn that into HDMI+audio and then feed that HDMI into the Tascam and the Tascam would sync its wordclock to the hdmi. I can take the LTC from the lockit and feed it to the Tascam as well and then I would have BWF's that were wordclock-locked to the Lockit and had the appropriate timecode in the bwf from the LTC. I don't know where to find this magic box cheap. Plan B: If I had a device that could take HDMI with embedded timecode from the Tascam and then burp out LTC, I could just let the Tascam be the master source of LTC + wordclock for itself. I don't know how to find this magic box either. I wish the Tascam just had an LTC out. Any ideas/hope?
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