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About bcopenhagen

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    Hero Member
  • Birthday January 1

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  • Location
    SF Bay Area
  • Interested in Sound for Picture
  • About
    Production sound mixer in SF Bay Area

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  1. Thanks! I also got an email response saying they hope to ship late June/early July. And, “The pre-order discounts will be valid till we actually know when shipping starts, we’ll send out another news.” cheers, Brian
  2. Actually, I’ve done that in the past and found that often the people who have the answer to those kinds of questions are out of the office, running the booth at NAB. I was hoping someone had an answer when I checked back and saw a new post here. But hey, I’m glad you bothered to join the thread for the sole purpose of your helpful suggestion. You should get a hat. If I get the info, I’ll post it.
  3. Does anyone know what the release date is for these? If not, can someone find out from ambient folks at NAB?
  4. bcopenhagen


    I’d love to be wrong! But consider this: Selecting the input type happens before the routing. The flexible routing means channels to tracks, but the Scorpio has 16 channels (ie, signal paths) from the physical inputs. I’m leaving the 17-32 Dante-only channels out of this discussion for the moment. from the FAQs: “Channels 1-16 can be fed from analog mic or line, SL-6, AES3 or AES42 (XLR inputs 1 and 6), Dante, or Rtn-A, -B, or -C.” Also, in the manual for the 688 (on which the implementation of AES on XLR 1 & 6 seems to be based), choosing AES as the input type for Ch 2 is a contextual choice, available only when AES has been selected on Ch 1 input. That seems to imply that if you want the 2nd ch of AES, it has to use the signal path of Ch 2. Anyway, it doesn’t seem likely that SD can implement 8 channels of AES input, given the hardware inputs. So I’ll just let that idea die quietly in its sleep and will still consider the Scorpio as a viable contender for my next recorder upgrade. -Brian
  5. bcopenhagen


    To refine Vincent’s explanation above, and speaking from theory (not actual usage!): the physical input is on XLRs 1 & 6, each of which can provide 2 channels of audio for AES3. If you want both AES channels from XLR 1, you will need to choose AES for both ch 1 & 2 in the input settings on the recorder. 4 channels of AES available on 2 XLR connectors. But you won’t be able to then use XLR 2 & 5 for mic pres…
  6. bcopenhagen


    Thanks for being an active part of this thread, Paul. I am also interested in the decision to limit the AES inputs to just 4 channels. Is there a hardware or software limitation to using 2 more XLRs to provide a total of 8 AES3 ins? I was hoping to read about Scorpio and see 8 AES inputs, whereupon the clouds would have parted with the angels singing to me that this is, indeed, my next recorder. If you’re taking requests, that would be the one that would tip the scale for me. As it happens, I just wrapped on a film that required 14-16 tracks recording all the time, for which I built a Boom Recorder rig; the 8 AES outputs from the Sonosax mixer were integral to getting 16 channels of audio into the computer interface (8 digital, 8 analog). I’d much rather have done the job with a Scorpio. Brian Copenhagen
  7. Ah. Glad I found this thread to explain the same issue: "Forum unavailable at this time" thanks for playing, Tapatalk! better luck next time. And thank you, Jeff, for tolerating it all these years. I was one of the happy users of Tapatalk, but I'll just have to move on to another technology. -Brian
  8. Mostly owner operators in SF, myself included. PM me about what you need in SF and when.
  9. Looks great! I'll be excited to see the Audio Ltd version. Brian
  10. The portable receivers have the same excellent audio quality as the rack receivers, with obviously more flexibility for doing portable work. They have a wide range of gain control and a nice low noise floor (dependent also on your mic). It's been rumored that Shure may respond to the resounding desire for top-display portable receivers. Yes, they are many steps up from a Sennheiser G2/G3 system (assume you mean ew100 series). -Brian
  11. Nice work! No... not the first. Here's my box from a couple years ago. Doesn't have those fancy push-button combo switches/LEDs, but it does regulate down to 9V for the outputs. I decided on just a single PTC fuse at the front end. -Brian
  12. Agree with Max above: ça tourne in French, as in the motor of the camera is turning. British have been known to say the same, ie, "turning", because the AD makes the call as, "let's turn over" instead of "roll camera"
  13. I've been working with Nelson for around 11 years, and can answer some of these questions. I'm not sure if Nelson lurks here much, but I was happy to see this very thorough post about the recent cart build. @CrewC - You've got that right, he is indeed a free thinking man, with a record of finding creative ways to implement current and sometimes unorthodox technology for location sound. He used to broadcast to video village headsets using an FM transmitter and sony walkmans. Always sounded better than the older Comteks. His attention to every detail of recording (both acoustic and electronic) has allowed studio quality recording to take place amongst the rigors of location work. As for other recording options (for portable work), the mainstays in recent years have been the HHB Portadrive and more recently the Sound Devices 788T. @Alan - It was indeed Scott and myself on Chasing Mavericks. We used waterproof bags that Nelson invented, sealed with a waterproof tape and put in the small of the back for the wetsuits. Mics were placed at the base of the neck in wetsuits modified to our specs in order to allow the sound to pass through. We worked constantly with the various elements (ie, water, and thick wetsuits) throughout the production to get better and better results, and had a very supportive wardrobe department. The boom was always the best option, but the wetsuit lav mics pulled through in some very tricky situations. Range was great. As an example, we were able to stay on the cliffs above Pleasure Point (in Santa Cruz, about 75 feet off the beach), and get good reception to about 75 yards out into the water. Sometimes we remoted the antennas if it was on the edge of signal reception. @John - his original post link goes to a thorough description of the cart components, but I just noticed that Tap-a-Talk doesn't display the text, only the photos. So, from the description: "Modified Neve 5422 console with custom direct outs built by Stephen Balliet of Reflection Audio" Cheers, Brian
  14. (off-topic.... check your PMs re: your FS post) -bcopenhagen
  15. Do a search on the forum for cart power supplies. There has been a lot of discussions over the years. In particular, an elegant solution (and relatively cheap) is our host's cart power system, which uses a 12V power supply with a SLA battery floating on it. A DIY power solution for shore power with a battery backup. -Brian
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