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karlw

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Everything posted by karlw

  1. Just a reminder that Saturday, 12/31 is the deadline for ordering this combo if you want to take advantage of the rebate.
  2. I see that my post (above) has been edited without my knowledge. It is actually factually incorrect now. We have seen latencies in digital wireless systems as low as 0.9 ms (Quadra IEM system - admittedly not a wireless microphone) and as much as 18 ms. Most are in the 2-4 ms range, which is a tiny fraction of a frame. However, it is still important to note that with some wireless systems, delay may be needed to be added to the wired boom if you are mixing it with a lav and the lav is on a digital wireless system.
  3. Just to clear up one potential misunderstanding here. Phase cancellations happen when a source is picked up by two mics at *different* distances. If a voice, say, is picked up by two microphones that are exactly the same distance from the voice, then no cancellation would occur. This ignores the stuff Tom brought up about reflective surfaces. And, as Johnny pointed out, for complete cancellation to occur, you'd need one mic out of polarity with the other. In most real world situations, you'll have two mics that are NOT the same distance from the source, and thus, you'll get some comb filtering, giving you the "hollow" sound mentioned above. And as either the voice moves in relation to the two mics, or one of the mics moves, the sound will change due to differences in phase interactions. Yes, if you ISO either of the mics, you won't hear it. It only happens when the signals are mixed together.
  4. "Phase" and "Polarity" are often confused. Then throw in latency (system) and time of arrival (through air), and it can be difficult to comprehend. I'll take a stab at it. As Philip Perkins mentioned, there is already a time of arrival difference between lav mics and boom mikes of about ~3 to 8 ms, depending on how far the boom mic is from the talent's mouth (sound travels at roughly 1 ft per millisecond). This can not be corrected by inverting polarity on one or the other channels. The only way to correct it (assuming they are mixing the two tracks) is to add delay to one channel to match the later TOA for the other channel. Then there is the issue of latency which is different for different wireless systems. Analog systems (Sennheiser G2/G3, 2000, 3000 & 5000 Series; Audio LTD 2020/2040; Lectrosonics 190/195/200 Series; etc.) has basically zero latency. Any digital system will have at least 2 ms due to the A/D and D/A process, mostly (plus error correction, other processing, etc.).
  5. Yes, the Ambient unit will work for that purpose. The differences are: the MCA5X requires you to set the bias voltage on the transmitter to 5 V. Also, the MCA5X can NOT be used with 48 V phantom power. The Ambient Eumel requires 48 V, and will not work with 5 V.
  6. I case you haven't heard about this, Lectrosonics teamed up with DPA US to offer a $150 rebate for the purchase of an SSM transmitter and d:screet lav microphone. The offer is good through January 20 for customers purchasing these products from US Authorized Dealers. I've attached the form for anyone interested. DPA Lectro Offer Form_FINAL.pdf
  7. An update on the SRAES3 digital output plate: The question came up on the Facebook "Freelance Sound Mixers & Recordists for TV/Film" group: "If you're inputting a few of these [SRc with SRAES3] into a recorder with sample rate converting inputs then syncing them all with wordclock is unnecessary, correct?" In talking with our engineering department, we all agreed that "there is no reason we can think of that it won't work". That's great in theory, but what about a test? So we set up some tests by using two SR receivers, each with the SRAES3 output plates, feeding a 688 via the AES3 inputs. We did not use a word clock master. Each SR was fed by two transmitters, for a total of four channels. First, we tied all four lav mics together with a rubber band so that we would have basically a mono signal going into the four RF channels, thus into the two SRs, two SRAE3 plates, and into two dual AES3 inputs on the recorder. From there, we mixed those four tracks back to to mono (actually we mixed each of those tracks both to the L and R tracks of a stereo file). The results were fine - no phasing, no issues at all. We also then separated the mics & transmitters around the office, and recorded ambience, i.e. room tone. No issues at all. If you're interested, here's a link to the first test file: https://www.dropbox.com/s/s3d2wn4cnyxalwh/T08.WAV?dl=0
  8. New accessory for the ever-growing SR Series product line: http://www.lectrosonics.com/US/lectrosonics-introduces-sraes3-bottom-plate-adapter-for-sr-series-receivers.html
  9. Jon, if the unit you saw was Kelly Fair's demo unit, this was not the final hardware design for the production units. The battery door was beefed up already. Of course time will tell (as it always does) if the design is robust or not.
  10. Chris, we appreciate your detailed look at this, and your math! It is the latter paragraph I want to center on. The 80 dB spec is for the low sensitivity channel. So the "real" dynamic range for Split Mode would be from the noise floor of the low gain channel to the clipping point of the high gain channel. Again, we'll have real figures for you shortly.
  11. The 105 dB spec for the HD Mono mode is before the onset of limiting.
  12. I agree with Constantin, and we are looking at that spec again to more properly represent the dynamic range of the split gain mode. It should be well over 100 dB and probably closer to 110. We'll have a solid figure for you as soon as we can thoroughly test it to verify.
  13. I see that there's already a thread on the topic of this new product, but here's the official announcement: http://www.lectrosonics.com/US/lectrosonics-introduces-the-pdr-personal-digital-recorder.html And, I don't see it posted yet on New Endian's site, but James coded up a new app to give "dweedle" control of the PDR for start/stop, etc.
  14. The D4R isn't really a "bag receiver" it is a point-to-point system, otherwise known as a hop. The D4 system uses a single carrier to shuttle 2 or 4 channels of audio over a digital wireless link. The DBa is a single-channel "talent" bodypack transmitter. Currently the only compatible receiver is the DR system.
  15. jhop, that is a pretty early unit. We should see it to install all the available updates. When you have time, please contact our service dept at service.repair@lectrosonics.com or 800-821-1121. Also, if you can let us know what else is going on in your bag, i.e. hop transmitters, and how you chose your frequencies for talent and hops. Thanks!
  16. jhop, do you know what frequency band that SRc is on, and how old it is? Or at least what the serial number is? There have been a number of hardware updates, and a few software updates, since we started shipping these units earlier this year. Thanks!
  17. Nicely done, Tyler. If you feel like adding a couple of things, some mixers are using our VHF IFB and/or D4 system. VHF IFB: tunes from 174.100 to 215.750 MHz (We call this block "VHF") D4 tunes from 906.624 to 925.056 MHz (This is an ISM band).
  18. Yes, it is very similar in layout, with up to 6 channels in 1RU. It also has AES/EBU outputs in addition to analog. And since it is digital, it has clock in/out as well.
  19. The DR receiver system is compatible with the DBa. The DR is similar in layout to the Venue 2, but is a digital receiver with switchable analog/AES digital outputs.
  20. Hi Constantin, thanks for your interest. The advantages of digital transmission are many, but there are also of course challenges. The main goals of this product are A) pristine audio quality, comparable with any wireless system on the market (20-20K response, 24 bit/48 kHz conversion) and strong encryption for those that need it (government, corporate, sports broadcast). To answer your questions: 1. The DBa is released now in the US, Canada, Mexico and South America. We do not yet have EU certification for this product and I'm not yet sure when that will happen. 2. Only the SSM has the Lemo connector at this time. It remains to be seen if we will put the Lemo on other transmitters, but it is a possibility, depending on the demand.
  21. http://www.lectrosonics.com/US/lectrosonics-introduces-the-dba-digital-belt-pack-transmitter.html
  22. Hear Hear! Great show - took a while to build momentum, but my wife and I really enjoy it. And yes - production sound is first rate. Celebrity sighting - saw Katee Sackhoff at the Albuquerque Airport just a couple of weeks ago.
  23. You might want to reach out to our dealer in Moscow: Okno Audio, and ask for Vlad (he speaks English) http://www.okno-audio.ru/en/about/
  24. millar, Yes, the tracking filters in the SRc work independently on each channel, and thus will work in both Ratio mode and Switched mode, even if in Switched mode, your two frequencies are at opposite ends of the band. Regarding the antennas, there is some minor loss of sensitivity at the extremes of the band, if you have an antenna cut to the proper length for the center of the band. However, in the field this is unlikely to be noticed via performance. Receiver whip antennas are a very broad "filter" with perhaps 2-3 dB loss at the extremes.
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