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Johnny Karlsson

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Everything posted by Johnny Karlsson

  1. My conclusion was that extending the expired license was not a good way to go, since it was four times more money, and the process was cloaked in mysterious unknowns, with back-and-forths as you seem to be experiencing right now. My conclusion, and advice, would be to simply apply for a new license. Once I did that, it was processed and finished in 10 days.
  2. To each their own, I guess. I very much prefer an internally cabled pole with a plug-on at the bottom of the pole.
  3. AFAIK, the 1510 was designed specifically to meet the max size for carry-on luggage. It fits in the overhead storage on *most* regular sized planes, but if you travel on smaller planes, this may not be guaranteed so I would recommend you check to make sure with your airline.
  4. Yep, and also, when you send something in to SD for service - even if it’s for a specific reason, they will go through the whole unit and replace worn input and output jacks, pots, even the “golf pegs” to bring everything up to factory specs. In my experience, it has been great every time.
  5. Oooh, yeah you’re right. I have to say it’s great though. The flexibility as well as the sound of the 8-series really makes it far superior to any of the earlier series imho. But yeah, if you don’t need any of the “bells and whistles”, or even onboard recording, then a 302 or a 442 are still some seriously reliable mixers.
  6. That would be the 833. Slightly north of the $4K price point now, but coupled with a $200 SL Mixface, you got 8 faders.
  7. If you want a 302, why not just get a 302? There are many available used for really good prices on eBay etc.
  8. Not motivated by profit? Isn’t that the definition of a hobbyist?
  9. Ah yes, well this is of course all depending on the job at hand. Documentary etc - there is simply no way to slate anything while running around. For this; TC sync box on camera(s) that can take it. I did some “corporate” style interviews lately that were shot on 2x DSLR type cameras. 3.5mm inputs and not really practical to mount anything on = (in my view) TC Slate and the internal camera mics on for reference. It would have worked with a good ol’ “dumb slate”, too of course. (Nothing dumb about them!). Also, things like the original Alexa Mini, where you can of course get line level in with the right cable or an A-box - BUT - it doesn’t have a headphone output, so there is no way to monitor what the camera is getting. There are different ways of getting things done, and only you can decide what is the right way for you.
  10. Sure, but just because it says it records 24/48, that’s no guarantee of “quality”. Depends on what camera we’re talking about. Meaning a noisy camera input recorded at whatever file format will still be noisy. Also, the camera is a device that I have no control over. The operator may change some settings, or accidentally bump the level control(s), unplug a cable etc. And even if they are “monitoring”, they are probably not focusing on sound, or even want to, since they are busy doing their job making sure the picture is good.
  11. Sorry if this is too obvious, but could it be possible that your mic is wired incorrectly ? Looks like this is a UM400, so should not be servo bias wiring like 400a and later (SM etc).
  12. In terms of a DAW; the environment it was designed for is more of a controlled situation - a studio with sound proofing and isolation from the outside world. You can spend a day, or a week tweaking a snare sound. Everything is focused on sound only, so your mic placement, gain staging and levels could (should?) be optimal at the point of recording. Most of the time when mixing (let's say) 30-100 tracks you end up turning things down, rather than adding gain. And where you need more gain, it's easy to add with a plug-in.... the fader is just one of many things that can add or subtract gain. Oh, and to answer Marc's original question; if you need to add that much gain, just use "Normalize". With that you can set the top peak to anything you like, all the way up to 0 dBFS, or -3dB just for safety, and/or use a compressor.
  13. I'm afraid there is no such thing. "... a thermonuclear bomb can produce an overpressure corresponding to 278 decibels. This is QUITE lethal. 200 decibels is enough to cause instant death, and 278 decibels is about 10 million times greater sound intensity." Last time I checked, the best converters available would achieve around 20 to 21 bits. Analog circuitry is part of all converters. - I am guessing here - I think this is where the 32-bit converters are "different" in a way that the signal coming in is somehow turned way down before it hits the converter, then once in the digital domain, it's brought back up, with the safety of basically not ever hitting dBFS (clipping) at the converter stage. Since the 32-bit digital noise floor is basically non existent it doesn't add any to the signal when turned up. But the real world dynamic range (difference between the softest and loudest sound) basically remains the same as in 24-bit - ie the noise floor of the physical world (hvac, transmitter self noise, mic self noise etc.) and the loudest scream is no different. The good news is that you can be sure that the unexpected/improvised scream doesn't clip when you fall asleep with the trims and faders all the way up.
  14. Decibel is a relative term; dBFS, dBV, dBU... in the physical world, dB SPL (sound pressure level) is different. "At 194 dB, the energy in the sound waves starts distorting and they create a complete vacuum between themselves. The sound is no longer moving through the air, but is in fact pushing the air along with it, forming a pressurized wall of moving air. This is called a shock wave, and it is at this point that a “sound” becomes a physically perceptible and possibly dangerous force." I think the 770 dB etc. are more like theoretical and exists only in the digital "world".
  15. Sorry Derek, I see how my post may seem like a snarky comment, but it was more an attempt to be humorous. I definitely didn’t mean to shut you down or have you bow out of the discussion. We’re all here to exchange viewpoints and yours are certainly as valid as anyone else’s! And, I do see some scenarios where 32-bit float might come in handy, but it probably (hopefully) will not replace the services of a skilled sound mixer. It may help salvage some things, but it also takes some extra time/work/$$ for post to actually use it. Maybe in 5 years all major NLE will be able to import and and take full advantage of 32-bit float files, but for me the question remains; is it necessary?
  16. Which is great for all those times we have to record an ant fart, then one second later the space shuttle takes off - and there is literally no time to adjust the trim. And it finally lets you take full advantage of that 1000dB dynamic range microphone.
  17. Look up Servo bias vs universal wiring. Also look at the Lectro manual for wiring schemes for different types of mics. Hope that helps.
  18. Yeah, interesting indeed. However mine is until December, yours February, so more like 3 months rather than a year. - Tim stated above that his was granted until December 2029, so that's even one year shorter than mine. Seems to be pretty random.
  19. Woke up to the email this morning. New license granted. $95. 10 days from application date. Expiration date: 12/01/2030.
  20. FWIW - I use both Ladda 2450 and Eneloop Pro. I don’t know if they are exactly “the same”, but it doesn’t matter. They both work similar in practice, so all good.
  21. Thank you, Tim! Very good info. I will do the same.
  22. From what I know , and is available right now, I would recommend taking a look at Meon Life from RA, or the Zeus system from PSC. For extended power backup, check out Jackery.
  23. Could this be the clue? I could be wrong, but didn’t Sennheiser make the 50 more RFI proof when they switched to gold connectors?
  24. You can route the return to ch 7-8 to have full return meters. (Take them out of the mix bus of course). Once you get used to the 8-series, you’ll see it has way more flexibility in terms of routing.
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