Tom Duffy

Yep. I just got an Azden 105 Tx/Rx pair (560MHz-590MHz) for $41 because the box was missing the handheld mic. It's not diversity Rx, but perfect for a DSLR scratch track hop.

From https://www.fcc.gov/consumers/guides/distribution-sale-and-use-wireless-microphones-operating-700-mhz-band-prohibited "As of January 15, 2010, the FCC prohibits the import, sale, offer for sale or shipment of wireless microphones and other low power auxiliary stations (i.e. similar devices) intended for use in the 700 MHz Band in the United States. " So strictly, even selling on ebay in the US for shipping outside the US is covered.

Blood pressure rising... http://www.ebay.com/itm/Audio-Limited-Envoy-Wireless-Systems-4-Available-/322421159423 From another auction by the same seller: "I am a professional sound mixer of 24 years." "I am known in the industry world wide"

The DR-70D and DR-701D have 10ppm clocks, which is 1 frame/hr worst case. OTOH the 701D is designed to be constantly clocked to the HDMI output of a DSLR camera or LTC output of some other device, which gives you 0ppm slip. I have no problem recommending the DR-70D for the use case described here, it's part of my own kit.

Yes, in the UK it was sold mostly as 4"x5" sheets from what I remember. Held my collection of postcards on the bedroom wall just fine. Still can't find any background info on why Bostick never marketed it in the US under the Blu Tack brand, or licensed it to any other manufacturer.

I used blu-tack at home all the time in the UK, but I've never seen it in the US shops. Wondered if there was some legal naming thing blocking it. It's only the last few years I've seen similar "Picture putty" or "Mounting Putty" in the DIY stores, but only as tiny strips.

Trivia: TASCAM had the first US-legal (i.e. with SCMS copy protect) DAT deck, the DA-50 in 1989. MD had a much longer life in South America, radio stations there standardized on it as a replacement for the endless-loop tape cart machines for playback.

Too good not to share. Not mine. K-tek customer image from their website: https://ktekpro.com/user-photos/boom-accessory-clip-kbac1/

After the 2009 closedown of the 700MHz spectrum, manufacturers did a good job of educating users & providing upgrade paths. newly obsolete equipment sold on eBay seemed to be fairly carefully worded "for export only". Any that didn't sell was expected to be trashed over time. I carefully dismantled and recycled my Audio Technica kit I used for PA gigs, which had become worthless... Forward 7 years, and all that obsolete 700MHz band equipment is boldly available on eBay, no disclaimers or warnings to the purchaser. If/when the 600Mhz band gets chopped up, expect to see the same - some self-restraint in used sales for a couple of years, then free-for-all. Am I too idealogic, hoping that something being illegal actually affected people's behavior even though it impacts their ability to make a quick buck?

Don't forget HS-P82 + RC-F82 at 3000usd

Had it on the DVR, watched it last night because of your comment. Loved it, my wife couldn't understand why I cracked up laughing. I follow McFarlain for his pithy comments on Twitter too.

Jeff, please close this thread. JWSound is a globally accessible site, and any non-US citizen donating to a US political cause is breaking laws (or causing that group to break laws by unknowingly receiving it).

Not wishing to hijack Lectro's awesome announcement, this was replaced in the US with the DR-10L:

From the picture and spec, it looks like a cost-reduced version, with the latest firmware that supports node locking (prevents accidental routing changes, etc). They're no longer using the Audinate module, the parts are directly on the board. Makes sense, they have a very close relationship with Audinate.

This is a first for us. If you have an old TASCAM USB interface and buy a new TASCAM USB audio interface, you can get a rebate of $40/$60/$80 when you send the old one back to us. We're buying it back, so you don't have to hawk it on eBay and deal with questions from someone who doesn't realize it's legacy gear and thought they were getting a bargain. http://tascam.com/general/twogreatoffers

Correct, when we started out we wanted to be able to show the names for all 8 channels and Mix on the home screen, which dictated the 4 chanracter max. If we showed the first 4 chars of a longer name, that would potentially confuse rather than help.

Sorry, slate is from the front panel built in microphone only. The microphone on the RC-F82 is just for talkback through the LINEOUT 2 connections. Changing this would impact a lot of signal processing.

http://tascam.com/news/display/12584/ http://filmtvsound.com/index.php/recorders/427-tascam-releases-new-firmware-for-hs-p82 With years of user feedback, we updated the HS-P82 firmware to make it even more useful for film and TV production work. Metadata is now in the BEXT chunk, as well as the iXML chunk. This removes all reason for complaints about lack of Metadata info in the legacy Avid Media Composer workflows. More data in the iXML chunk to be able to check what version of firmware the recorder was using when file was created. We fixed all the confusing ways that Mirroring used to work. Now you get an identical directory structure and files on both cards, and metadata edits propagate to the mirrored card as well My excuse for the way it used to behave is, we originally believed this feature needed to be a safety data dump, i.e. once the data touched that second card, we'd never rewrite or delete those files, so you'd know it couldn't be corrupted or accidentally lost, and save you from the dreaded "I didn't get all the files" phone call.. Users told us that they needed duplicate files at the end of the day. Easier renaming when recording mix and isos - renaming the take propagates the name to the stereo mix file as well. Safety REC stop mode - need to press and hold STOP > 2 secs to interrupt a recording. Selectable. Easier to toggle the Timecode display mode on the home screen - now a pop down menu instead of toggling through all the choices each time - and we added a mode to always see the TImecode generator (Previously when stopped, the TC display would show the last recorded take's head TC) Easier access to Circle Take and Rename Take from the home screen. Shortcut keys from a keyboard for these added as well. Even though you can change the bit depth (16 or 24) anytime during a project, we added this setting to the Create Project screens as well, so you get to check it and not forget it. AES/EBU inputs now accept Consumer S/PDIF encoded data as well as Pro (you'll still need some way to convert unbalanced to balanced though) Other minor bug fixes. The HS-P82 continues to be highly regarded for its audio quality, we have many dedicated users recording classical and Jazz who won't use anything else on location and in their studios. Don't forget the RC-F82 mix controller for complete Cart Based TV and film production work-flow.

There is a case to be made for 96kHz in live situations. Digico desks running at 96kHz are popular (>50% at varsity level concerts) Reducing Latency is one, as there are multiple points in the signal chain that add latency back. Cleaner EQ curves is another. The math in Digital mixers warps the frequency response of the EQ, moreso at higher frequencies, so the higher FS makes the curve sound more like its analog original. Re-sampling from one rate to another can be done abritrarily good as an offline process, easily maintaining 24 bits of dynamic range and noise floor. The math and processing power to do this wasn't available early on during the digital audio renaissance, so some still think re-sampling is bad. There is one slight gotcha there though - intrasample peaks. If the source file was a mastered song, it may already have samples peaking close to 0dBFS, so when properly re-sampled, you get new samples that peak above 0dB which will then the truncated as a result of saving the file. Played back normally, the original creates those intra-sample peaks in the D/A converter chip, which is designed to handle them. That's one of the benefits of DSD I lilke to explain: it has an upper limit of +6dBFS, although it is normal never to go above +3dBFS, i.e. remastered songs don't need transient smearing brick-wall limiting at the end.

I think there were some camera/editing software company representative there, someone was very knowledgeable about video file formats. My feeling is that time labels are by nature a network thing, so if you have a product with e,g. AES67 streaming input/output, that would be a candidate for updating. There will probably be new network-edge products that convert to/from Network/Time label and LTC. Since the majority of questions related to Post-production, we'll probably see this build out from the TV station's internal network, where Time Labels will help them move from LTC embedded in 3G video to all network streaming protocols, then move to production equipment later as it becomes easier to feed in (ingest) files with Time label chunks. A recorder (camera or audio) would need a GPS receiver or network connection in order to sync up initially, so that it could generate an accurate Time label chunk from the PTP clock . Doing PTP accurately requires CPUs with IEEE1588 built in, so there will be some products that can't be improved even if they have network connections.

I attended. The Time Label spec is in very early stages, SMPTE is trying to get al lot of information from end users about what parts of the current Timecode spec they can remove (e.g Color Frame flag), and what needs to be added (e.g support for any frame rate from <1frame/sec to 1000frame/sec or more), etc. We did a online poll for everyone in the audience (about 80 - 100 people there), they will make this available online for everyone to add their votes to as well (there were 66 questions). Currently the only thing known is that the timestamp itself will be based on PTP, which is an 80 bit value, accurate to 1 nanosecond, and covers 137 some years. SMPTE is heavily video oriented, so the basic idea was that each frame of video would have a time label packet, but for audio, we'll probably end up with a single new chunk at the start of the BWAV file. They look to be developing the spec till around mid 2017, then expect to see first products with it late 2017 and early 2018. About 70% of the Los Angeles Attendees answered the first question "what is your role" with "post production". Audio pros were vastly underrepresented, as were theme park uses.

Unboxing / tear down of the BM-800, which is just a cosmetic change to the BM-700. Note at 5:20 he finds that only one of the 2 PCBs in the microphone is in the circuit. The same microphone is also sold with an internal 1.5V battery and electret capsule, so the 3.5mm and phantom power claims are for different models. The capsule is a 16mm, enclosed in plastic to make it look bigger behind the basket. usually great fodder for mic mods. I put a nice FET stage inside my MXL V67G to good effect, but I think the capsule here is just too poor to be salvegeable. I might get this though just for the accessories. Personally, I'm still waiting for a Groove Tubes GT33 clone ... Here's the closeup of the capsule

My Pet Peeve for used equipment- 700MHz band Wireless should either be refused to be listed for sale, or put in a different section clearly marked as "equipment not for use in the US".

Hand-held recorders discounted until Sept 11th : http://tascam.com/general/BTS2016

The airpods are regular bluetooth, the special sauce is the automatic pairing between them and the iphone or watch. If you want to charge an iphone 7 and get audio at the same time: For home use: Apple lightning dock - $39, gives you a 3.5mm output and charging. For pro use: TASCAM CD-200iL There are probably others too.