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Jaymz

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Everything posted by Jaymz

  1. I think that's it on the cart.
  2. Look at the letters "dig"-ital I assume. It's about time. Every manufacturer should be going fully digital and wide-band. Can't wait for Lectro to make a mobile version of theirs.
  3. The tone feature on Lectro receivers is simulating the transmitter at full modulation. It's not your typical calibration tone, it's intended to be set to your desired peak level. So more like +12 to +15dbu instead of 0 (or -8 to -5dbfs going into a recorder).
  4. Not sure if people have seen this yet, video of the crew as the train is coming.... https://youtu.be/Yt5fAkSf8AQ
  5. Cheers for the responses. I've never been to happy about the way comteks sound, even when using their "high fidelity" channels. They get the job done though.
  6. How come I see many people that have Zaxcom wireless with the QIFB installed and/or nomads, but still using a comtek transmitter?
  7. Brilliant thread. The debate is, how important is the mix track to audio post? Well it certainly depends on the workflow of audio post. Let's say, "Production Sound Mixer A" provides great mix tracks. Phase free, nicely transitioned. "Production Sound Mixer B" provides fair mix tracks. (Both PSM A and B track good, clean iso's) "Audio Post Team A" utilizes mix tracks in their work flow and iso's only when necessary - This means they'd rather be receiving PSM A's work "Audio Post Team B" works exclusively from isolated tracks - This means they get the same results from PSM A or B I can respect the frustration of PSM A, who's work goes to Audio Post B. He/She spent years refining the art of mixing live only to have it all redone via the iso's they provided. But I also see where Henchman's coming from. From the perspective of audio post, you need to process a lot of things individually. As mentioned before though, many other reasons for a good mix track (IFB, dailies, video editing). The "mixing" element of Production Sound Mixer will certainly be sticking around...even for those of us that aren't particularly good at it. Good thing my productions gigs are mostly commercial.
  8. In a world where an issue as serious and obvious as climate change struggles to gather support, I have little faith in anyone caring about noise pollution. I think this was posted recently, but I'd really love to visit this place : http://www.bbc.com/travel/story/20150110-the-quietest-place-in-the-us
  9. Yep. Looking forward to moving to Seattle someday....or somewhere else.
  10. No, just AES into the Nomad from QRX200's. So 4 x TA-5F ends to the D-15 connector. For QRX200 AES to 788t I'll use the cable mentioned initially.
  11. I did, I spent a good while doing so. Only then did I post here. None of the cables I found mentioned AES/110ohm. I was unsure about using the one I found for AES, but if you think it will work fine that's what I'll have ordered to go AES into the 788t. Yeah I just noticed the XLR inputs are analogue only. Is a DB-15 -> TA-5 breakout cable available anywhere? Again, I just spent a while searching and could not find any from any of the usual suspects.
  12. Indeed, I just can't seem to find the link. I won't be the one making the purchase so I need to the send the exact product link to the ones that will.
  13. Have done a search and wasn't able to find the answer. I need to get some TA-5 to dual XLR-M cables to allow me to go out of some QRX200's AES into either a Nomad or 788t. Does anyone have a link to the specific cable? I can only find this one which doesn't mention AES compatibility, http://www.bhphotovideo.com/c/product/857687-REG/Remote_Audio_CA_T5F2X3M_18_TA5F_Y_to_2_XLR_3M.html
  14. Not convinced at all about higher sample rates. I'm sure the player sounds great, it's using the best DAC chip on the market (ESS Sabre 9018) and other DAC/Headphone amps using it cost way more than 400 USD. But c'mon...a man who's net worth is 65 million......using kickstarter to fund a business venture....
  15. When curious about a microphones appetite for gain, sensitivity specs are what you want to look at. My rule of thumb is, 25 mV/pa and above = Hot Output (can feed sub-par preamps with decent results) This includes : Sennheiser MKH 40,50,60,70, 8060, 8070 Sanken CS-3e 20 mV/pa and below = Low Output (clean preamps are a must) This includes : Sennheiser MKH 8040,8050, All Schoeps mics, Neumann KMR81i
  16. Jaymz

    Deva 32

    From the linked article, In other Zaxcom news that may be a bit shocking for some, the Deva 5.8, Deva 16, Fusion, Fusion 12, and Mix-12 all have been officially discontinued. When we asked about future support, Goodsir assured us, “Not to worry, Zaxcom will still be servicing these units for years to come.”
  17. No, the video is about the fantastic work of the sound effects editors and recordists. Not the decisions made in the final mix. It's not their fault Nolan decided to beat us over the head with the Zimmer stick. In regards to the video, very informative. Did I understand correctly, that room tone from the interior ship sets was used as the main ambience for those scenes?
  18. It should be legal everywhere, the DEA should be disbanded or reassigned to a task that actually involves protecting the public.
  19. Hire a sound mixer, they will take care of all your location sound needs and allow you to concentrate on directing.
  20. Not too surprising. We've been down this road twice before with Christopher Nolan. M+E completely overpowering dialogue.
  21. That is a photoshopped version of this picture,
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