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Richard Thomas

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Everything posted by Richard Thomas

  1. With the USB recording, will the BP-TRX work as USB host device? As far as I know the M2D2 will only send or receive audio as a USB slave, if they're both slaves it won't work
  2. Simon Bishop's successfully been using KMR-81Ds on booms for some time with a DMI-2 and Zaxcom wireless
  3. Here's a bit of an overview of the current Sonosax preamp design which incorporates post (dual) ADC gain and has an option to record 32bit files: http://rtsound.net/no-gain-no-pain-sonosax-r4-and-ad8-gain-structure/ I've asked Sonosax a couple of questions about this since this discussion about the F6 has started, whether recording in 32bit produces float or integer files, and whether they can 'save' any overmodulated tracks
  4. I've run 4x MCR42 and an audio ltd RF DA from the DC output quite happily. Digital receivers are another story...
  5. The timecode systems app (or paired movieslate) has had this for years, since the master. It also works with the wave and pulse- useful for the odd thing where you need to put TC in front of a gopro or something, but doesn't really replace a proper slate
  6. Yes, and the R4+ (which has some new ambisonic decoding firmware on the way soon)
  7. 606-614MHz is good in the UK (in fact the only range we can reasonably use without a fixed site license), and up to 700MHz works with a fixed site license
  8. Only just seen this- as a note I've not really used any of the computer setups in anger. I am working on something, though...
  9. Thank you Jacques, I was wondering if it was possible to use the ambeo option card and the XLR microphone inputs at the same time, and if other analogue sources could be sent to the ambeo connector?
  10. Didn't see the option card- would this give additional analogue inputs alongside the 4 XLR inputs or would they be switched? I know a few people interested in the R4+ but would need additional analogue inputs and the AD8+ is more than they need
  11. It's usually at least £100 of kit on top of that. For a number of reasons our kit rental rates seem to be considerably lower than those I've seen charged in the US. You may need to hire radio mics in locally, there are quite specific license requirements here. Actually with the kit quoted I'd be charging over £500 with that for a 10hr day
  12. I didn’t measure it, but it has a similar footprint to an iphone 6
  13. I’d look at it as a nicer sounding 302 with more functionality (direct outs and AES3), rather than any kind of alternative to the 688. I’ve still got mine- it sounds lovely still, but the R4+ preamps are up a notch on these I’d say The SX-M2D2 looks like it’s pretty much exactly what you’re after (it’s also *tiny*), but still in development and I doubt it’ll be available before the end of the year. I’ve attached some photos of the prototype casing, but it may well change (they were looking at changing the controls and putting them on the shorter side)
  14. They should share the same pinout as superslot receivers so audio and power should work in the octopack. There's a picture of one in a SL6 in the IBC video https://youtu.be/AIfsZPAT7w4
  15. Here's something I had a look at earlier in the year and I've mentioned a little about to Mr Bacon, however it would require a bit of work to get the control surface mappings sorted- it wouldn't be plug and play. Most modern audio interfaces have dsp mixing engines in now, and they'll work with a control surface- I've got a couple of the MOTU AVB boxes and have them working with a computer running the control translations from midi to OSC, but hope to have another box replace that. http://rtsound.net/audio-interfaces-location-mixers/
  16. It's now ofcom who deal with the licenses directly: https://www.ofcom.org.uk/manage-your-licence/radiocommunication-licences/pmse All pretty much the same, coordinated licenses on ch38, site specific ones available on most other frequencies (although the 700band is now being sold off)
  17. Although not necessarily zaxcom compliant- this is the superslot serial data specifications (which may be in the right direction): "Standard UART Rx and Tx connections required. Recommended UART BAUD rate is 115k, 8n1. Lower rates can be used, but will result in slower communication of data. SuperSlot UART signaling is 3.3V but is 5V tolerant on signals from client " However I expect it may be easier to reverse engineer the controller and seeing what it transmits
  18. Kris Jarosz (ex RFS) should be cheaper than Sennheiser for minor repairs over here and he's very capable- krisaudioservices@gmail.com 07740 173540
  19. Based on the design of the R4+ user interface, all the buttons would be programmable with short and long presses to pull up most of the features of the recorder. A few more user assignable ones not assigned to tracks would be useful, though. If EQ were to be an option, some (infinite) assignable knobs for that would be useful. Being able to use the RC8+ knobs for digital gain could also be a useful feature if used with this (although would usually adjust at the transmitter) Duplicate headphone/menu knob and rec/playback switch (instead of dedicated transport controls). Same headphone/slate setup as RC8+ - Currently to do a private line there's a bit of a workaround. The Boom op feed is sent a prefade iso track- this needs to be faded down to be sent to the boom op only and up to be used as slate mic (in the mix). A separate 'slate 1' to AES7 and 'slate 2' to AES8 would get round this, although you'd still lose a track for comms (as you may need to communicate with boom ops during a take) Way of mounting a tablet computer as meterbridge/touchscreen interface with hardwire ethernet to USB? (See Roland M200i) I like Philip's keyboard idea- even just a slide out mount underneath could work with an existing keyboard
  20. You can assign the button on each pot to an input screen (it's actually default for the XLRs), so you push it and the knob on the right can be used to adjust the gain (again, set to gain as default). Push it again and you're back to the mix- it's possible to do it fast, you'll PFL the channel in the headphones, though. The button on each of the pots is assignable to lots of different things, both as a short press and a long press. If you've got the RC8+ you can leave the R4+ pots as gain and use the RC8+ as faders. It's not possible to assign individual knob functions- although they're assignable by device (R4+, RC8+, AD8+), I believe this is a design decision as it could get *really* complicated (faders are independently assignable to tracks). There are also 2 different selectable fader curves, which match those on the SX-ST, a standard +12dB max curve and a more linear +24dB max curve (very useful for whisper to shout situations)
  21. The mix presets and pot assignment are separate. Fast recall of pot assignment could be really useful, though- I'd prefer it to be kept separate from mix routings, though
  22. Don't know- I assume it's just for the AD8+ for the time being and new firmware would be required for it to work with the R4+
  23. The FS7 does have a hirose out on the XDCA back- don't think the C300mk2 does, though (however I've only worked with them once) As far as the Ultrasync goes- I, for one, welcome out new overlords. TCS seem to be doing a very good deal for a wave and a couple of these starting next week
  24. I bought a Sonosax SX-M32 as my first field mixer and have kept hold of it for a lot of the same reasons as others have used the 302. Its advantages are that it has 3 direct outs and AES3 out
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