Jaymz

Dodgy set safety strikes again.....

Discuss... 

Gotze, lovely strike.

^ One of these? :

hmmm,

Usually at 6.5v it will warn you, then at 6.3v it will shut down.

He brought it upon himself with his ridiculous requests and the phrasing of the post.

It wouldn't be too bad if all he was asking for was a DX/FX edit and basic stereo mix deliverable for 3,500.

But the fact that he wants two days of ADR, a separate foley artist (or foley at all!), "high-end facilities", a 5.1 mix and all the unnecessary "characteristics" listed makes it offensive.

Glorious

Picture of the ADR/Foley cart I mentioned.

On the SRb side, mounted on the cam , I use Line levels on the cam inputs (manual), outputting to +5 from the SRb. Adjusting the levels to -20 on the camera from the SRb's tone (1KHz).

Lectrosonics receivers calibration tone outputs at maximum modulation (it shows the loudest possible signal you would get as if the transmitter was at full modulation). It's not intended to be calibrated to -20, it's supposed to be set to "max desired peak level".

Got very busy today, will post pics when I get the chance.

Sure,

Where I work, we have dedicated one of our carts to ADR/Foley work. It has the following,

-1 x Furman Power Rack (rack mounted)

-1 x Sound Devices 702t (mounted on a shelf)

-1 x MOTU Traveller (rack mounted)

-1 x Digi 002R (rack mounted)

There is a BNC->RCA AES cable hooked up to the "AES 1,2 output" on the right side of the 702t. This can be plugged into either the 002 or the MOTU's RCA SPDIF input. In Pro Tools, we have our recording track use the spdif input of whichever device the 702 is plugged into (with that devices clock source set to external).

When set up this way, you're using the 702's preamps + A/D conversion. The interface is merely being used as pass-thru to get the signal into Pro Tools.

I'll post a picture tomorrow.

It's worth mentioning, since you already own an SD recorder, that you can buy a cheap interface with a SPDIF/AES input and use your 7-series recorder as the front end (pres/converters).

The first three inputs are mic/line switchable in any combination. So you can have,

1 : Boom (mic level)

2 : Handheld (mic level)

3-6 : Lavs (line level)

Cheers, Jeff!

Jeff you are correct - NeverClip is there for you protection and can't be turned off. Now I think there may be some confusion is with ISO attenuation on the record tracks - which can be turned on or off - depending on your preference.

But the extra dynamic range can't be recorded unless you use ISO attenutation, correct? It says in the first post ;

If nothing is done to this extra signal and it is output or recorded through a 24-bit D-A output or card track, it will be clipped.

 

So from what I understand, if I plug in a mic, crank up the fader/gain on a very loud source, route it directly to a track and press record...that signal will be distorted unless I use ISO attenuation, correct? Or am I misunderstanding this concept?

Sorry to bump the thread, just saw this and wanted clarification...

Cheers for the response, RP.

" I personally switch the camera back to INT TC after it has taken the jam, then the internal Ambient circuitry "

Sorry for old bump,

Was curious if this is necessary or if the Alexa automatically uses it's ambient clock after you disconnect the source?

Working with a team that doesn't switch back to int tc and say it's never been an issue. So sort of looking to settle the debate!

You've probably ordered by now, but thought I should chime in.

I recently received 4 x 801's which I ordered for where I work. Be aware, ordering the lav mics means you will only receive the mics, no case or accessories at all. They must be ordered separately.

Are the specs of the mics and preamp/AD listed anywhere on their site? Can't find them anywhere. Perhaps not until the official release...

Not thrilled with the self noise of my 8060's.

This probably means you have one of the issues. See if you can compare it to a 416, if it's self-noise seems higher, then it's malfunctioning.

Really seems like an issue where Sennheiser should have done a recall. After I had a 3rd replacement fail, I stopped trusting the 806 all together. Though I still use and love other 8000 series mics.

I'd like to vouch for Alex. I've filled in for him on a few commercial gigs and crews love him

I reckon he just wanted to know what everyone thought was better and this whole thread was actually just a ruse to avoid senator coming in and telling him "been discussed before, several times".

What a scumbag response on twitter. Even if he honestly knew nothing, that's not how to handle the situation.

Wealthy individuals should be banned from using kickstarter.

Happens all the time. Among other things....

Editing not taking place with ISO's sycn'd which screws the audio post team.

Inexperienced editors summing boom and lav tracks together resulting in horrendous phasing.

All sample rates covered as well, according to the specs.

Might be selling my 552.

Still holding out for my dream machine, the 744t MKII / 844t

• 2 extra preamps for a total of 4 fully capable inputs (with AES42 capability on all)
• Capable of recording Mix + 4 Iso's
• CL-8 style attachment
• CL-Wifi compatible
• 192khz capable
• Exact same limiters as 744 (fixed, available at any sample rate)
• Improved A/D conversion from 788
• USB 2.0/3.0 + Firewire 400/800
• SSD version