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rich

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Everything posted by rich

  1. right. and? why is that way too much?
  2. indeed, and if you are using the same radio mic system for all your incoming channels, then it makes no difference as nothing is offset. and most top end recorders have input delay to compensate for this kind of thing.
  3. why is it way too much? zaxcom and lectrosonics have similar latency, and i havent seen any complaints about their delay times.
  4. as you say, the ground wire to the case isnt necessary. but it would still be sensible to connect the thread of the SMA to the case. just file away a little of the case where the threads will make contact with it, and at the top of the case where the bolt will tighten up. as long as when you test with a continuity checker there is no connection between the centre of the SMA and the shell, you should be ok. i would also suggest a higher wattage soldering iron, as it doesnt look like youve properly melted the solder, but have held the iron on too long, and melted the insulation of the yellow jumper cable. and it may also be, that if the wire came away from the pin of the SMA, and wasnt ripped off (you can still see the tinned end) that it may not have been properly soldered to the SMA which could have affected your signal. good luck for attempt 2. im sure you'll nail it.
  5. i just measured them and the barrels are 12mm long. ive never been happy with the power connectors that you were looking for initially. the cable clamp never feels particularly effective, or cuts into the outer coat of the wire, which is never good for a power connection. if its for a power supply, an option might be to fit a 4 pin XLR to the power supply, then make a 4 pin XLR to the cable i linked to.
  6. i use these https://cpc.farnell.com/pro-elec/jr8306a-2m/lead-dc-extension-2-1mmr-a-2m/dp/PW01940?ost=pw01940 cut the female end off at the length of your choice and put your chosen connector on.
  7. i only use 4061 and 6061 mics with my Audio Ltd transmitters. which have proven to be a very good range for level. coping well with loud shouts. when i first got the 1010s, i also got a load of DPA slims with the same sensitivity as the 4060, and they were waaaay to hot. i had to have the gain at 0-1 (the 1010 had a gain range of 0-9 i think) and i think you would have the same issue with the 4060 and 6060. i have done some jobs with other peoples kit where they are using wisy tx with 4061, and that seems to work very well as well. also handling loud shouts.
  8. i predict it will come. though not confident enough to predict a timeline. but.. as SD have one 32bit transmitter available, and i would guess an inevitable 32bit version of the A10 will come at some point, and i believe that SD have said that the 8 series hardware is capable of 32bit. as well as Dante being able to support 32bit, i am hoping there will be a full 32bit system from them in the not too distant future. though a follow up question would be, how would a 32bit post production workflow work? are any of the edit systems capable of dealing with 32bit files? and as you wouldnt need to adjust the gain of the ISOs, how will post easily get enough level for the edit? if there is to be a convert to 24bit step (like i have the option to do with my A20 tx recordings) how sure can we ever be that someone wont screw it up down the line and blame us? or will we have to spend an hour or so at the end of the day to convert the 32bit files to 24bit. though an post record auto convert / proxy file kind of thing would be pretty cool. or even being able to record 32bit files to the main hard drive, and 24bit to the SD cards (thinking of SD products here - zaxcom with its primary / secondary disk setup seems like it could easily be adapted for that) i think there is a large element of build it and they will come. but given how wary post can be of new edit system software updates, it may take a bit of time before we are doing everything 32bit throughout.
  9. are you able to get a hold of another battery and battery shoe? i would guess that there is a connection not being made with one or both of the data pins between the battery and the BG DU box. and (apologies for the patronising suggestion) but it would be worth trying the email again, but make sure you type it correctly, as the contact info on the site doesnt have a mailto link for the email. though i may just be projecting my poor typing on you. good luck
  10. if it's not constant, then it may not be digital rf. are you able to test without the A10s? or at least recreate the situation where you get your white noise whilst talking only?
  11. i dont use negative gain on my LPDAs, though often, i only have the gain set at 6dB whilst my antenna cables have about 10dB of loss. its always a good idea to not have any transmitters close to your receivers, but you arent wrong that digital radios seem to be more sensitive to it. if you are having noise issues with your SSMs, it may be a shielding issue you have rather than an antenna gain issues. in what situation do you get the noise issues? and what specifically is the noise? an increase in white noise could be digital rf. splats and pops could be frequency related, or de-sensing.
  12. No. I haven’t because the situation hasn’t come up. maybe next time I am doing some car scenes and I need the plant mics to go all day I might. but I doubt I’ll be needing to / able to use a power bank in a situation where I have the transmitter on an actor.
  13. i only use the app to turn them off. otherwise id have to keep getting to the transmitter, and that wuoldnt go down well with anyone wearing it. yes. i have forgotten to turn them back on. of course. but not often. though often, I'll leave the transmitters on, and change the batteries sooner. when i did some runtime tests to see how different batteries compared, i got between 3:50 and 4 hours from the sonys. none of the other batteries i tried got past 3:30. lithium AAs will last longer, but i have no intention of using disposable batteries if at all possible. but battery life has been fine for what i need. if you need longer runtimes, wait until the updated A10 which will inevitably come (i have no information on this, but it seems obvious to me that it will come) i havent done any range tests to compare the A10 and A20 or different output powers. when i first got the A20 i used them at 10mw, and range was what i would have expected to have been getting from the A10s. the difference in range between 10 and 20mw i would expect to be a few metres. more power is often not the answer. good antennas, and getting them closer will work better. assuming you are able to work like that.
  14. ive had my A20 since as soon as they were shipping. range at 10mw (normal) has been about the same as my A10 at 20mw (med) according to the manual, there isnt a significant change in run time between 10 and 20mw on the A20. 1mw supposedly has longer run time, but who is going to set their tx to 1mw? get the Sony BX1. i tried a few other equivalent batteries, some claiming higher capacities, and none of them got within half an hour of the Sonys. i have no intention of testing with AAA batteries. tx power is less important than antennas. get a good rf distro too, preferably with some filtering, especially if you are using in a bag with IEM tx. i use an audio wireless DADM 226-DT. if you are working on dramas, you can make the batteries last until lunch, as you'll have opportunity to power down the transmitters in between setups. otherwise expect about 4 hours with the Sony batteries. have the gain controlled at the receiver is fantastic. as is the option to record in 32bit. another nice feature is that you can name the tx via the app, and the name appears at the receiver. i am very happy with mine. costume dept love them too.
  15. yeah. understood. my guess is that the AES42 cone had an issue then.
  16. i am guessing that there is a lot less locking going on than you think. if Glenn says everything is being resampled, you've got to take the word of the person who designs one of the components in this discussion. there always was a few seconds when the 743 is powered up / a super CMIT is connected where everything is syncing itself up. but most digital connections in our field are sample rate converted. theres not that many units that have sync inputs. the super CMIT can do weird things sometimes - mine didnt like noises like leaves in the wind that were coming from directly behind the mic and that would sound like a low res data stream. and setting 2 was very heavily processed. i also thought it sounded nicer with the initial firmware. when they updated the firmware, it made setting 1 stronger, and i could here more artefacts in that. though Schoeps told me that there was also a later hardware update which cured some of that, but i sold my mic after i had it done so didn't really test it out. i am reasonably certain that the person who bought my 742 and super CMIT has used them together happily for quite a few years now as they haven't rung me up demanding their money back.
  17. this one is very real https://www.youtube.com/watch?v=XlDezjUxZtk
  18. many years ago, when i had my super CMIT, i used it with a 742 and 743, into QRX, and then into the AES in of the 788. it all worked just fine. its not beyond the realms of possibility that there was a fault somewhere in the chain between the AES42 cone, and the 788 in. as there are plenty of others out there who use a zaxcom tx with their super CMITs, and none of them would continue using it if they thought it was giving anything other than great sound. zaxcom also used to make a 942 transmitter (which i still have in a box somewhere) which would power a super CMIT for 6 hours. only downsides were that it only transmitted one channel of audio (either processed or unprocessed) and i can never remember if there was an answer to wether it would have been possible for it to transmit stereo. the other downside was that it had to be worn on the boom op's hip, which made it tricky to rest the boom anywhere and keep a mic open in the room. and most boom op's i worked with much preferred the transmitter on the pole.
  19. we may be working in different areas of the industry. but i just format the card in my 8 series and use the default name - Scorpio SD2 for example. as i create a new folder for each shoot day, and every file has its own unique name for the job, i've figured that is fine. and in as many years as ive been recording to hard disk recorders, i've never had an issue involving the name of the card i've handed over for rushes. for my last two jobs, i've put a little label (RM 1, RM 2 etc) on each card i am using, which also helps with rotating through the cards and so that returned cards don't get used for a few days - just in case. but thats as far as i've gone for that kind of thing.
  20. unless you are plugging it straight into the microphone itself, youll always have a short jumper cable between where the tx is mounted on your pole, and the mic where it sits in its suspension. i had a very quick scan in the MTB manual and it doesnt mention anywhere how to mount it for best rf transmission, and i would expect that if it was the case that it needed to be mounted a specific way, they would be sure to mention it quite early on in the manual. i dont know how short a cable you are planning to use, but i know many mixers who use MTB plug ons for their primary booms, and they are all connected by a short jumper cable to the mic on a suspension and i have never heard of any issues they have had with range. but i also expect that if you wanted to have the transmitter at the opposite end of the pole to the microphone, you would have few issues. there are people on here with far superior knowledge about rf design than myself who would be better able to comment on your highly respected professional's comment about every plug on devices design. i just use the stuff and trust that the manufacturers know what they are doing, especially for our little niche world, and that any product that didn't work as you would expect for the premium grade equipment we are talking about would not be worth any manufacturer bringing to market. which is a rambling way of saying, i bet it'll work just fine however you use it.
  21. thanks for the info Karl. it had been a while since i had checked the specs on the latency of the Lectro systems. and i was either gong from memory from a very old figure, or (which is very 2021) made up a likely sounding number and used that without actually doing any double checking.
  22. assuming that have you compensated for the different latencies of the two systems (2ms for A10, 3.6ms for lectro), it could be that having the SSM in DPA mode has swapped the phase, but because there isnt a DPA mode for the A10, you'll need to change the output phase in the A10 menu, or at your recorder
  23. I’m not using any of the RF bits of the SL2.
  24. i have started using my Audio Wireless DADM226-DT in my bag rig in place of the antenna distro on the SL2, and i feel a lot happier with how it is performing. whislt i havent had opportunity to use it a great deal, i could at least see that if i keyed a walkie near to the antennas, the receivers wouldnt lose signal.
  25. dont bother with whips. get a decent rf distro as soon as you can. i use an audio wireless DADM226-DT in my bag rig which works great. when i first built my bag rig with whips on the receivers, the range was very unimpressive. swapping the next day to a distro box with dipoles mounted on the bag improved things massively. an unfiltered distro will work for you as well, but ive been using either the AW powered and filtered fins on my cart rack through an A10 rack, or the 226-DT box in my bag, and it helps cut out a lot of unwanted rf, like walky talkies, and IEM transmitters.
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