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daniel

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Everything posted by daniel

  1. Hi AudioMTL, i'm interested in your post fader iso method. Most recordists I speak to don't do post fade iso's but some post people i've spoken to say they leave the mix and go straight to the iso's and would prefer a little more attention paid to their levels. In which case it makes sense to use the faders for the iso's and aux sends for the scratch track. Are you using a flatbed or zaxcom (postfade) or an SQN (not so many options out there for post fade iso's)? dan. ps i do understand that 'warm' (-10db peaks), post fade iso's would mean the mix sends would need to be attenuated. pps.Thanks Kevin for posting the video. Been trying to work out what's what on the faders but i'm not sure i'm right. My instinct says the boom is the fader that gets moved least ie the 2nd fader from the mixers right (and is gets dipped a little to reduce phasing). The other 2 faders are the cast's personal mics (as he rides them most). The scene starts with cast someway apart saying goodbye and then they step closer to say some final things, where the mixer can play the boom for both their lines(?).
  2. Obviously not many options to keep the signal in the digital domain: zaxcom trx942 and lectrosonics d4. And so what solutions (da converter + TX + powering) have folks employed when going via analogue transmitters? As the solution would be worn and operated by a boom op the powering and size of the overall solution needs to be considered along with quality, reliability and compatibility. All observations welcome. dan. ps. Frequencies permitting there is high likely hood we will have 2 d4 systems for monitoring anyway. Do d4 TX and RX operate well in close proximity to each other? eg in the same bag/pouc the boom op would be wearing?
  3. Any forum users with real world experience of using Lectro octopacks with other brands of (dual channel , diversity) drop-in receivers? I am considering using octopacks with wisycoms mcr42 drop-in receivers: http://www.wisycom.com/product.php?ID=48 (it conceivably be used with other brands too): http://www.audioltd.com/new-en2-slot-in-receiver-debuts-at-bve-london/ http://www.sony.co.uk/biz/product/digiwirelessreceivers/dwr-s01d/overview atb, dan.
  4. Found a reasonable way to rig the edirol r26 with my 302 and it played along nicely. The inputs have 2 gain stages (sensitivity and trim) so it wasn't a fight to make it work and despite my reservations about the touch screen it is actually quite nice to use as you can set parameters for the individual inputs quite easily. I have the option of using XLR inputs or mini jack (which is what disappointed me about the dr-40). I've got a nice idea how to use it as 4 track with the 302. Things to be aware of though: ~ Quite a bit of rf spill from around the screen (on block 28 at least) but i solve this with extended antennae. ~ It's quite big. ~ The 'pots' on the machine control pairs of tracks. eg both the XLR i/ps are controlled by pot 1, both i/ps on the minijack are contoled by pot 2. Maybe edirol can fix this with firmware (not really a problem if using with a mixer) but i doubt they'll bother. The display is quite good (i'm reading it sideways on my rig) but peak hold would be nice and it would be great if could re-oriented for side viewing. dan ps i spent about 2 hours in chappell music in wardour street demoing all the options with my 302 - which a really appreciated as i could find nowhere else in central london to do this (incredible). In the end it came to the r26 or dr40 plus an h1 (for the reasons stated above and i'm fed up with h2 input issues even if they can be resolved with a special lead). And even if i had bought the dr40 + h1 combo it still wouldn't be so good for recording fx etc (without a mixer up front).
  5. pindrop, i think sean and i are referring to something similar when i say 'air' and he says 'reverb'. i wouldn't use another wireless or body worn mic for this for the same reasons i would avoid using 1 for room tone (buzztrack) or an atmos. more like a boom mic (but preferably not a interference tube). eg a cardioid set just loud enough to mask the variable noise floor of the rest of the (assisted) mix. you might notice some 'reverb' (phasing) if set too loud or directed to the same source as another mic in the mix or the room is small and very 'lively' or the source is very loud - but this should not be the case if you are not trying to get dialogue with said mic. you don't have to put the air in the mix as such (unless the turn round is so fast you know it wont get any post work) you could put it on the other track and leave it for the editor. although monitor the whole lot in mono to have an idea of how it will sound if used in such a way. d
  6. hi pin drop, possible work rounds: ~ decide on a main speaker and set their mix level manually. ~ mix a manually leveled boom to both channels. ~ include a manually leveled 'air' mic to the radio mic mix down. some editors may do something similar anyway. d
  7. I fear, because i quoted my original question and my (accidental) use of 18pt instead of 14pt in my last post may have suggested that i was frustrated by responses to the topic. If my post gave that impression it was not my intention and i am very sorry. I very much appreciate ALL the responses so far and i was aware my original post could have been clearer (hence the 2nd post comparing the context of the headphones use to near field monitors). And even if i've only managed to offend our dear tomtenisse with my ignorance and flippant use of the "Post" button i am sorry. Perhaps it would be possible to build into the site a "pre-post, send-to-senator" button as a quality control function:-)
  8. This is exactly the circumstance to which i refer when I say - "in situations where I can get away with it." IE. something close to where you might use near field monitors but would prefer an even closer solution. And it is indeed a rare occurrence for most of us but something I am exploring as I look to be in these very circumstances for 12 hours x 50 or so days. Thanks for the responses so far. Dan.
  9. To avoid the ear fatigue of wearing closed-back headphones (and in situations where i can get away with it) i'd like to add some open-back HPs to my collection. I generally used sennheiser HD25s and sony 7506s, I also like (but don't own) dt250s. Oh yeah, they need to be circumaural as I have big sticky out ears (another reason why hd25s are fatiguing for me). atb, dan.
  10. 1 of the rental houses in London has told me the SD788t has had the auto-mix function implemented. I'm wondering if any forum contributors have some real world experience with this function. I'm considering the use of an auto-mixer on an upcoming project to generate a mix down scratch track and monitor option because of the high track count involved and the nature of the production (unscripted dialogue in 4 different languages). The plan is I can concentrate on delivering nicely balanced (optimally leveled) iso tracks POST fader and not get bogged down with a mix track the post supervisor has told me is just for reference. Questions I particularly need answered are: Would it be good enough (compared to a Lectrosonics auto-mix system) to do this (especially as I will be using at least 2 recorders and might therefore need to send the auto-mix of 1 machine to an input of the 2nd to be part that machine's auto-mix - a cascaded, auto-mixed, scratch track if you will (i hope i've explained myself here)? How responsive and consitent is the system? How hard or difficult is it to set up? Will it allow more than 1 mic to be open at a time? dan.
  11. well as we're speculating marc. they might even buy you a ticket on some kind of premier executive transport service and fly you somewhere nice for a few months of water sports etc.
  12. 8 out 10 cats get an RM-11* (substitutes for mics other than sankens can be made with self amalgamating tape/moleskin/putty/fimo). The rest share hair mounts, make-up sponges, synthetic fleece or disguised in glasses, pen in pocket etc. The best tape for fixing wire or mic to skin or wardrobe is fixomul stretch. It's an elasticated, breathable, hypo-allergenic, medical tape that is easy to colour with make-up or marker it also gives some wind protection. when i first bought this tape i tested it on myself - it lasted 3 showers! *the RM-11 is awesome for the simple reason that you can adjust the frequency response of the capsule to compensate for the loss of the top end that you would otherwise loose hiding the mic under a layer of clothing. I am always gutted when i loose one. atb, dan.
  13. Robert, I'm not sure it is exactly clear to anyone here in the uk quite how things are going to pan out over the next few years with the frequency spectrum available to us but at least 3 manufacturers are making units with wide switching band widths (partly as a response to this problem but also for international flexibility). In descending order: WYSYCOM (250mhz on the RX which can be programmed to work with other manufacturers transmitters, 120mhz on the TX) http://www.wisycom.com/ AUDIO WIRELESS (120mhz on TX and RX) http://www.audiowireless.co.uk/ audio ltd en2 cx2 (80mhz on RX, 25 mhz on TX) http://www.audioltd.com/new-en2-slot-in-receiver-debuts-at-bve-london/ As you can probably tell from the website, wysycom are in another league and the price WILL reflect that. atb, dan.
  14. Not sure from your post Boom Danny if the lighting department has tried hanging blackout cloth/curtains opposite the glass in which your boom is reflecting. DOP might mention 'negative fill' but if the glass is reflecting something black (like the cloth) then the reflection of the boom if not so obvious (if visible at all). dan.
  15. i asked Glenn about linking nomads when he came to elstree, london. He said nomad does NOT link with another nomad YET. i also asked about provisions for a false start and meta data entry. Glenn acknowledged not having a false start provision was an oversight to be fixed soon and it was suggested that meta data entry might be possible with zaxnet and an ipod. i know the idea is i phone up my local dealer every couple of weeks to find out what advertised (or otherwise) functionality is currently implemented in the latest firmware but i don't understand why it is necessary to force customers to ask the middle man the question the manufacturer is best placed to communicate to customers. as much as i respect the time that end users have taken to explain the evolution of functionality of the nomad i think i am not alone in wanting to see things in published in black and white by the manufacturer. zaxcom/Glenn please confirm the current status of: ~ linking 2 machines. ~ false start provision. ~ meta data entry with an external device or keyboard. ~ zaxnet function. ~ automix function. many thanks, dan.
  16. i used a beta version of the r82 some years ago. i quite liked it despite some teething problems - which were easy (in the end) for me to work round once i got some help with what to do with the field removable (ipod) drive. unlike the r4 which does NOT have a field removable drive.
  17. As a brit i amazed non of the usual (uk) suspects have sourced reasonable AD converters and a bit bucket (recorder) to include in a box with any of the fantastic audio pre-amps and limiters that are made here. Eg. SQN could have squeezed a 2 track recorder into one their mixers as SD have done with the 552. Sorry i don't mean to hijack this thread - i'm saying this as a preamble to suggesting FOSTEX will do more for the DSLR market with: http://www.fostexinternational.com/docs/latest_news/EFpkuAAElFRSSZGVPA.shtml I know Audio Developments make great locations mixers but i think it's a little late to bring a 3 channel mixer (only) to market. If people need the less functional 'british' box (which will almost certainly outlast the kit it has been designed to work with) to feel better about working with DSLRs then i guess they will have some sales but other than the AD261 has anyone ever used or seen another using ANY of their other bag mixers? As an Ambient Tiny Mix owner, i'm a bit suprised Ambient have stopped making the Tiny Mix as it was by far the smallest way of putting balanced mic or line level into a non professional audio input like those of a DSLR or (minijack i/p) audio recorder. It was also a very convenient way of converting my SD 302 to a 5 channel mixer. atb, dan.
  18. Would using the 6 physical knobs (faders) for the extra tracks/channels not require them to be motorised or become rotary encoders? Obviously motorised faders would be more than a firmware update but if such a concept didn't cost much more than an extra fader box it would be an interesting feature to see on future mixer/recorders (or even nomad 2) and surely preferable (in theory) to the vagueness of rotary encoders. dan
  19. I have: 2 pairs of hd 25 s for accuracy. 1 pair 7506 s for convenience (curly cable and they fold). my next pair will be: beyer dt 250 s because they are very comfortable and sound great. i posted this as no one else has mentioned the dt250 s dan
  20. probably not a necessity for most production work but if there was ever a need to get the antennae higher than a readily portable mast would allow, how about 1 of these: http://www.helikites.com/ I have no link with the company. I am not endorsing the product. YAMV (your altitude may vary ;-). atb, dan.
  21. My replies in tahoma bold. ~ currently no keyboard support (for meta data entry) - glenn said NOMAD is designed for the bag (primarily) and is NOT a replacement for DEVA, it maybe possible to work keyboard support into the firmware, again the idea of an app was mooted, to allow metadata input with an iphone. The fact that a keyboard isn't supported isn't a big deal for me. I would not be a fan of carrying around a small keyboard in the bag. This is one of the best features of the 788T - metadata entry from the iphone/ipad. How this would work with the Zax system...? The 2.4ghz signal is being used for the IFB/TC/Remote Control fuction, and to my knowledge, doesn't create a adhoc network for something like the iphone to connect to, which is what is necessary to get such functionality. Would require a re-write of Zaxnet? I seem to remember something about WIFI file transfer and using a phone to email so i think nomad and iphone can 'talk'. ~ limiter display - a meter bar on the respective track 'pushing down' from 0dbfs (showing how much work it is doing). This is great. I like SD's implementation on the output limiters (progressively brighter LED with more limiter activity), but if this shows ACTUAL dB reduction, that's great. I can't confirm that detail. ~ size / weight / build quality: medium large hardback book, a little bigger than an SQN, recessed XLR i/ps, flat. Bigger or smaller than a 788T? Deeper, but across the front about the same, maybe a little wider. Depending on what you're doing with you O/Ps i'd say the recessed I/Ps will keep the bag compact. ~ Firmware update procedure. Stick in a USB stick? Mirror card and boot. ~ ERX1 / ZAXNET - simultaneously send a mono audio mix and time code, digitally and wirelessly to a camera/video village with a box costing 500usd. Yes, i got the model code incorrect there. ERXTCD and i think ERX2(?) are the models supporting TC and they are $600. Timecode and audio is only available with the ERXTCD, which is $600USD, unless Zax has recently revised their pricing. Discounts for orders over 5 units? I think this is still happening. Lots of options in the menu of ERX1 including; audio gain - fixed (for camera) or variable (for monitoring), TC - output level and channel select(L/C/R). Audio delay and TC offset. No cross talk either. The gain level on the ERX's I has pretty much sits at full the whole time, for monitoring, unless I crank more gain into the QRX i'm sending from, which distorts the signal on peak dialogue. This is using 24ohm Sony headphones. The fixed level setting prevents accidental adjustment when using it as link. The headphones i tried yesterday worked fine. Trying to use the ERX to feed timecode and mono mix to an Alexa, I fixed the audio gain at maximum, and got the timecode sorted (this is all I use the units for now). I sent tone from my mixer, added 8dB to this signal in the QRX, then plugged into the camera, and had to add another 24dB (from unity) on the camera to get it to line up at -20db. I know it's only guide track, but where's all my signal gone? I definitely hear cross-talk of the timecode signal, even when I don't add any gain at the QRX, and even on the ERX1, which is not capable of outputting timecode. Maybe it works better with the IFB100... My cross talk test was not scientific but if it was there it was not obvious. I don't know about QRX with ERX1. Can TC bleed during (single carrier) transmission? Im guessing the output from the ERX1/2 is unbalanced so could you be loosing some signal going into ALEXA because the input is balanced (different impedances)? Also, range is still an issue out of the bag for me, and this won't change with the NOMAD, as it uses the same 50mW IFB TX as the QRX. For range similar to a Lectro T4 etc, you'll need a 1W amp, and matching antenna, neither of which are an option for in the bag. My camera snakes are 5 meters (minus repairs), if ERX2/TCD gives 10 meters i'm be happy. Would raising the zaxnet antennae (onto the shoulder) help? things i wished i asked/tried: ~ more details about the automixer, eg. is it at the input stage and therefore opening/closing channels or is it assigned to a mix bus that you select the record channel for and allowing for manually controlled iso's. According to a recent post from Jack Norflus, the auto-mixer isn't ready yet, and won't ship with the first batch anyway. Also, is the automixer an all or nothing arrangement or can some channels be auto mixed and others not? ~ should have brought lectro 411a to do a RF scan and check the spillage. That would be interesting, but again, according to Jack, there is little RF spray from the unit. Hopefully better than the yucky stuff coming from the STA100/150 units and all that... Yeah i read jack's report, it still would have been good for me to confirm with my own kit. dr.
  22. From what i could glean (and remember) most features will be available on all machines at release. The better spec'd models will ship with the linux unit (which manages zaxnet and mp3 recording) and those functions will follow shortly (october?). Pending features: ~ currently no false start (metadata) procedure - glenn said it was an over sight to be corrected shortly. ~ currently no daisy chaining of recorders - glenn said it would be possible through the serial port and maybe through an iphone app. ~ currently no keyboard support (for meta data entry) - glenn said NOMAD is designed for the bag (primarily) and is NOT a replacement for DEVA, it maybe possible to work keyboard support into the firmware, again the idea of an app was mooted, to allow metadata input with an iphone. Things i really like: ~ UK servicing for most things at everything audio (elstree). ~ limiter display - a meter bar on the respective track 'pushing down' from 0dbfs (showing how much work it is doing). ~ size / weight / build quality: medium large hardback book, a little bigger than an SQN, recessed XLR i/ps, flat. ~ Firmware update procedure. ~ ERX1 / ZAXNET - simultaneously send a mono audio mix and time code, digitally and wirelessly to a camera/video village with a box costing 500usd. Lots of options in the menu of ERX1 including; audio gain - fixed (for camera) or variable (for monitoring), TC - output level and channel select(L/C/R). Audio delay and TC offset. No cross talk either. A slight drift off topic: The question ERX1 raises for me is could a MONO camera link become the defacto standard for getting sound to camera from a mixer-recorder if the link includes TC? Given that most of us (ENG/PSC) are sending audio to a card based video (and increasingly stills) cameras which usually means down loading picture rushes to a laptop on set. On the day, how 'inconvenient' would it be to integrate a download of the multi track audio rushes into this procedure (and therefore reducing the importance of a stereo hop)? how long does it take for an editor to ingest and conform double system media when the camera media has (a decent) audio scratch track and TC on the spare channel or master on TC i/p? From a production POV does the process take long enough for the 60euro/day that we should be charging for the stereo link to be worth paying? things i wished i asked/tried: ~ more details about the automixer, eg. is it at the input stage and therefore opening/closing channels or is it assigned to a mix bus that you select the record channel for and allowing for manually controlled iso's. ~ should have brought lectro 411a to do a RF scan and check the spillage. Many thanks to Roger and Glenn. atb, Dan Rosen.
  23. daniel rosen: location sound operator (bag and trailer). hackney, london.
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