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About Bash

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  • Birthday 01/01/1

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    still learning
  • Interested in Sound for Picture

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  1. It's not home brew. Deya can be found on FB at Deya Brewing Company. I think they did a number of beers with music industry related names 😉 IMFTM is currently my absolute favourite beer. 😉
  2. I would like to suggest that if making oinly one size then let it be a 12 bay. The difference in size between an 8 bay and a 12 bay will be minimal. To have the ability to charge a day's worth of 6 channels of RM batts in one hit would be just brilliant. The slot/storage/charge solution would be brilliant if simple. I worry that if the holder gets into hinges etc... it will become too much of a pain. The beauty of the AA/AAA holders is in part their simplicity. Joppe -= your chargers are absolutely the best. Simon B
  3. Hi ClassicalTenor, I work as a location sound recordist, but my Ma is a composer, and was a singer and vocal coach for 60 or more years. I have done a lot of classical recording over the years. I am really not sure that you need reverb, either naturally from the room, or added in the recording chain. In many genres of music it is a standard practice to add reverb in order to 'hide' some of the singer's 'approximations' at pitch etc.... Surely both you and your teacher would be better off hearing things 'clean' and uncomplicated by reverb etc... When my mum was teaching back in the day - she would sit at the piano, and her student would normally stand in the crook of the piano or closer, facing her. It was a regular (medium sized) living room used as a music room. The student would have been 4-6ft away from Mum, and as we all know the human ear/brain can 'filter' out some stuff that it doesnt need, like reverb, so Mum would have been hearing the student pretty damned clean. I think Tourtelot might have cracked it - I think the problem is not your kit, but something in the link/connection, that is letting things down. Hoping that this helps, Simon B p.s. Ma is Betty Roe, MBE, see www.bettyroe.com - check out 'The Silver Hound' 😉
  4. Bash

    SD 888

    I was going to start another thread, but others have already noticed and mentioned about the frugal amount of AES IPs on the 8 series. First off to say that I think SD have done a great job with the 8 series - they have put a lot of very clever technology into some very small boxes, including TC and auto mix, and also amazing to have communication that allows fader panels from either third parties or from SD to be used with them. To have managed to do this in almost complete secrecy, I think the 8 series is really interesting, in that it pretty much ignores AES digital IPs (notwithstanding ch 1 (and ch 6 AES only on the Scorpio) which can work as an AES or an AES 42). So if you were trying to go for eg 8 x RMs and an AES 42 Boom on an 888 you’d be a bit stumped, without doing a bit of fiddling. It occurs that DANTE in a bag might be a bit ‘interesting’ - but I guess this remains to be seen by those who choose to be pioneers. Interesting times. I feel that SD/AL really do need to work out some sort of SL6/SL8 style of bolt on RM rack, to include whatever is needed to make the RM to 888/Scorpio connection by DANTE, whilst keeping analogue OPs of some description (probably TA5 or a D connector) albeit something small. I shall be really interested to see how some of the larger bag rigs work things out (circa 10+ radios etc....). I guess the other side of the debate could be the Zaxcom Nova, which has plenty of AES IPs, but no DANTE. The encoders on the Nova have the ability to flip to different banks, which is a relatively new way to work for bag work. Nova does not have DANTE, so maybe the comparison is not entirely fair. Interesting times indeed, I cant wait to try out some of these machines/systems/rigs etc....... Happy days. sb OK - by the time I had posted the above, I see the reply that says 4 x AES channel add on IP box to come...... I wonder if that would do 8 x RM IPs - I cant remember if the Audio Ltd AES OP can do 2 x Rx channels on one x stereo AES stream? sb
  5. Apologies - late arrival to the party and my name has already been mentioned. I should explain my motives and experiences with digital microphones...... I was a Zaxcom recorder and mixer user since the Deva 1. I upgraded the Deva 1 to a Deva 2, then had a Deva 5, then a 5.8. I had one of the standalone Zaxcom mixers (sorry - it’s been a long day and I am suffering from brain fade), not the fader panel...... Anyway - the early Deva recorders, and the stand alone mixer, in my experience, picked up a lot of hums and buzzes from other electrical cables around the set. If the wire to my analogue boom mics went anywhere near an HMI lighting head lead, or a dimmed tungsten light power lead, I would be in a world of yummy buzzy awfulness. I had to find a solution. At the time I was using Schoeps CMITs as my main boom mics. Schoeps announced the Super CMIT and I had an idea...... if I could use a digital mic, then the hums and buzzes would presumably be gone forever. I tried a Super CMIT with the Schoeps AES 42 powering box (which outputted AES 3 iirc) and it was an instant solution...... I have never had a single buzz or hum on set since then..... After some time I got bothered by the Super CMITs - I could often hear the algorithm, and also in quiet situations, when I thought the noise cancelling would be useful, the self noise of the mic (or the processor) was, for me, unacceptable. I thin tried the Neumann KM81D mics, through a DMI2 box. This was my revelation - a really warm and lovely sounding mic, through a box that gave me IP gain control, which is brilliant for the whisper and shout scenes. I have stuck with the Neumann for probably 5 years or more now - I love them. Currently I use the KM81Ds most often through Zaxcom 743 plug on transmitters. No need for the DMI2 anymore, though it is still on the trolley. Another major plus for digital mics.... I do a few shoot every year on big live shows - arenas etc... We have to do good sounding audience rigs. Previously we have had to rig more mics than we will need, knowing that some will be really buzzy once they get winched up into the lighting rig, or once the lighting cables go in over our rig. Often you only ever find out once the show lighting gets turned on. NOT ANY MORE - no lighting induced hums or buzzes ever. Digital mics wipe this out, and for this they are brilliant. John tipped me off for the cheap KM184Ds - they sound gorgeous, and make a brilliant crossed cardioid pair. I love them - such a lovely warm sound!!!! Must dash - it is late and I need sleep. Kindest regards, Simon B
  6. For your budget you can afford only one rig. Zoom F8n, and a Rode NT-SF1 mic. That is it - your whole budget spent. why is your DOP dictating what features your recorder has - this is a madness and should not even be a conversation. tell the DOP to shut up, or pay for the gear he/she wants you to use themselves. It is ridiculous. In truth, your budget is about a 1/2 or 1/4 of what it should be. you are setting yourself up to fail, and they are helping you to do that. Take a step back, take advice, and think about what kit you want to use. Good luck, sb
  7. Bash


    So if you dont want a fader to move when you change banks..... you program the same thing on many or all of the banks, so if, say, you always want the boom mic on Fader 1 on all banks... just program it in there on all of the banks. Simples 😉
  8. Just one short warning Christian..... Those mic pres... dont ever even think of overcooking them - they will crack like f--k and it is not a nice experience. If you are doing organ and similar recordings then I am sure you will have the measure of the dynamic range - you will not really need to worry about this too much, but.... Back in the days of dialogue recording... if the actor spoke the rehearsal and hollered the take, if you over modded the IP gain... boy those IP amps were unforgiving 😉 sb
  9. I wonder if this might help out........ https://www.easeus.com/resource/drive/fat16.htm sb
  10. I just bought one of these Adicam carts and I am very pleased with it. It is very low profile when stashed in the van. they are not light, but they are reassuringly strong and sturdy. I am a happy customer. Simon B
  11. Q "Whats the time?" A "Where?" sb
  12. Bash


    I believe that Nova has 'hooks' for bag use at the bottom. Just to expalin about the 'faders'. The knobs are in fact 'encoders' - this means that they revolve through 360 - they go round and round and round. The knob is surrounded by a circle of (colour changing) leds. This means that we can 'flip' the 5 rotary faders, like flipping the banks on a grown up flatbed mixer. When you flip the leds will show you where the 'knob' is meant to be. It is easier to demonstarte than to explain in an email. You can have a number of levels of 'flip'. So - it should/could be possible to have a layer of flip that will be, say, 'input trims', and others that could be 'mix levels' - the leds could even change colour to indicate that for instance red = input trims, where green = mix levels. The possibilities are huge. This is a really clever feature, and could be very exciting.You could, like on big flatbed digital mixers, even have custom layers of flip, where you decide for yourself what each encoder does. Exciting times - congratulations to Zaxcom - it looks like a really interesting product. Simon B
  13. Hi Danny, and welcome. It’s not so much that you are in the wrong tavern, perhaps more that you have walked up to the bar and asked the bartender along the lines of... ‘I have some cheap LIDL gin,and a soda stream, some Ikea glasses, I can bash a tune out on a piano, and I cook a mean cheese toastie. What should I do in order to get your job 😉 I understand that you are young, keen, and doing stuff with your (equally young and keen??) pals. I get it that you are ‘the sound department’. I also understand that in these modern times, with modern kit and software, it might seem/look like it is possible to do many or all of the jobs in the sound department, to do them well, and to do an amazing job of all of them. It might seem that way, but it is unlikely to work out like that. Many of the people here have specialised not only in a particular field (ie location recording), but also a specific genre (ie commercials, TV drama, feature films). They have, literally, honed their skills in their chosen field for many, many, years. They are at the top of their game, like the very best of the F1 drivers, or similar. Most often they have done that because they have found that the practicalities of multi skilling, of fitting in the ‘shooting’ schedule of the next job, with the post production schedule of the previous job, with the delivery schedule of the job before that, simply do not work out in their favour. It just doesn’t work in a diary. I realise that you (by your own admission) are at the start of your journey, so it may be that you and your mates are doing one job at a time, and for now you can see one job through before starting to shoot the next. Long may that continue, but believe me if you get popular, or you get booked on a long shoot (many, many, weeks on a series or similar) and the post needs to be started before you have finished the shoot, it all goes to pot and you’ll end up needing to choose your specialism. I really hope that one day you are busy enough to have to make that decision. In the mean time...... May I first of all suggest that you have some humility? If you are going to come on here and ask a bunch of pretty much top professionals how they do what they do, then please be prepared to humour us if some of us fail to give you the answers you asked for. I would advise against pissing off or answering back any of the responses you were given above. If you don’t like the answer, then shut up and suck it up, or say thanks and move on. People have long memories. We remember the modest folks, who asked nicely, and thanked us for sharing our wisdom. Not only do we remember those folks - we have helped and nurtured and encouraged them along the way. We have accepted them as the new blood, as the padwan in our craft. I hate to judge, but you have only made two posts in this thread, and I think you made two people pissed off already. That’s not a good start 😞 So now some advice.... Find one or some mentors, there are good people near you in Bristol - do some homework and see if you can find out who they are. Go to social and industry events in and around your area (see if you can find out about the sound department drinks in Bristol each month). See who you can get on with at these events, and nurture those relationships. See if there are mixers based locally (there are a few) who might take you out on shoots and show you how it works. Talk to people who work in post in Bristol, Cardiff, or Birmingham, and see if they might have you in to see how their sessions work. Join an industry group/guild/body. The Institute of Professional Sound is a good one, based in the UK, see www.ips.org.uk. I used to be the Chairman so I am biased. Other industry groups are available. DO NOT assume that a free group will cut it. The IPS is a non profit organisation, we charge fees to be a member, and we plough as much of the fee income back into training events as we possibly can (the IPS is run almost entirely by volunteer labour). Our next training event is a weekend of presentations on Audio over IP, (DANTE, AES67, AVB, etc... to you and I). It is open to members and non members (they pay more) and it will, I know, be brilliant. It is in a couple of weeks time - you should be there..... you will learn stuff and meet people. I wonder if your original question is just too broad.... ‘I have a Bosch drill and a really good set of very sharp knives. What do I need to know to be a brain surgeon’. Why not start with just a few specific questions, possibly as different threads, that are not quite so far reaching..... ‘Do any of you compress your mix track on your location recordings? What are your favourite settings?’, ‘What do you do to stop the music fighting the dialogue in the final mix?’ - even these questions may have huge and many and far reaching answers. Remember the 10,000 hour rule - you wil never be an expert at it until you have done it for 10,000 hours. It hurts, but generally, in almost every field, it is true. If you want to be an expert in location, post, and music, then that’ll be 30,000 hours please.... See you on the other side. One last thing.... if ou’re going to be writing the music, then FFS refer to yourself as a composer. - it is not just ‘doing the music’ for the shoot. My mother is a composer, she has made her living at it for something over 65 years. She will be 89 this year. She practices the piano every day, to this day, for 90 or more minutes, and she tells me regularly that she learns something every time she plays and or puts pen to paper. Good luck Danny O’Caster - I’ll be watching out for you at an industry doo soon. Come find me... I’ll buy you a pint. Oh... and remember the words to the crew, by the (very foreign, big accent) director on a BBC drama shoot some years ago..... ‘You lot all think I know fuck nothing..... but you are wrong... I know fuck all’ 😉 Good luck with the attitude, boy 😉 Simon B
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