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Everything posted by Bash

  1. Is it me or do the details say 'used'? The seller appears to be Adorama - a dealer? sb
  2. Best practice would be a system where you have a timecode device for each recorder, be they audio or video recorders. Choose one device as a master, set it, and jam the other two devices from the 'master'. Ideally you would have a system where the 'master' is continually or regularly updating the jammed 'followers'. Ambient Nano Lockits are very good, Betso are simpler, Tentacle are cheap and cheerful, but many people work well with them. I would plug master into your audio recorder, and the jammed followers into the cameras. Do tests. Check TC at regular intervals throughout the day. Enjoy..... sb
  3. Puts on pedants hat....... As I understand it - the v1 Mix Pre does not 'clock itsself to the field rate of the incoming TC' at all. Remember that we are talking about a digital recorder, that makes a .bwav file, and that a .bwav file has a TC sync value in the file header. As I think we are all aware... the TC sync value is calculated as the amount of 'samples after midnight' (00:00:00:00) counted at whatever your sample rate is (probably 44,1k or 48k in this case). This value then gets calculated back to a TC value (using the TC rate of the shoot) when the file is played back, or used in post production. So - in the case of a v1 MixPre6, it will look at the incoming TC, and at the moment that the new record file starts, it will take the TC number, calculate what that value is in frames since midnight, and record that value in the file header. At no point in all of the above is the recorder clocking itsself to the incoming TC. The recorder is clocked to an internal clock, from which it derives its own 44.1 or 48k sampling rate. In post production the DAW or video edit software will be deriving its own clock from somewhere. It will, say, 48k of audio samples into a similar 48k of timeline space. So - in practice.... the clock on the mix pre will easily be 'accurate enough' that over even a long take (2hrs or more) any 'drift' will be entirely irrelevant. In truth the cameras are not locked to some sort of clock then they are more likely to drift with respect to each other than with respect to the sound. So long as the TC shows on the display then you are in business. I seem to remember that you might have to tell the mix pre what the TC rate is, simply so that it puts that value in the file header, and things work out best then in post. You can send analogue TC into the Aux5/6 3.5mm jack socket on the mix pre. You will have to tell it that the aux in is going to be the source of the TC and it will look for it and show it on the display. Agree that there is absolutely no need whatsoever to have a better or posher or more grand machine. Hope that this helps. Simon B
  4. .... and what about the new 'Dolby On' app for iOS and Android??? sb
  5. Vortex Communications do their 'Call Me - Click and Collect' system, which works with the remote party using their regular phone. It sounds surprisingly good...... https://www.vtx.uk/product.aspx?id=401 scroll down a bit for the click and collect bit.... Simon B
  6. Haha - I remember seeing the prototype of those Zoom gizmos πŸ˜‰
  7. Could you do something like to send them a USB mic, like a Rode NT USB-Mini. Have them plug it into eg Zoom, and have them record the Zoom meeting/call??? If the director mutes their own mic when they are 'listening' then audio quality coud/might be quite good??? Might need a proper test though..... sb
  8. Bash


    Stop it immediately. If it has set you off this quickly then whatever it is, it is bad. Get rid of it. If you have a spare input to your recorder/mixer then maybe use that. Depending on your recorder/mixer you might be able to send it to the other ear, or to both, and yet not record it. If you have to record it then send it to the highest track number, and see if you can mirror only the track numbers that you need, not the walkie feed. If you cant do the above then get a stand alone small mixer like an SD302, and mix your headphone feeds and the comms on that. Be in control of it, and keep it low level. Protect your hearing - it is your greatest asset, and if you damage your hearing you are fucked. Look after yourself, Simon B
  9. Hi Joppe, I dont think I replied here, but.... my son can help you with circuit board design if you need iit. They should be super cheap to have made - the company I have used before in China charge by the square inch of board!!! Let me know if you need any help with the PCB bit. Did I say that I'd like a 12 wayplease ?? Many thanks, Simon B
  10. Check out Martijn Scholte's website - watch the brilliant videos - he has nailed it πŸ˜‰ http://www.good-sound.nl/ Envious, Simon B Check out his 'happy client' videos πŸ˜‰ Genius πŸ˜‰
  11. We just bought the column - the manufacturer make them as a thing, and the bed manufacturers buy them in. sb Obviously it isnt light.... but by the same token, it is not heavy by cart standards. I cant tell you the weight, but the next time I have the cart stripped of kit (could be in the New Year, I am due a big tidy up) - I'll weight the naked cart for you πŸ˜‰ sb Very little - a low few amps when raising or lowering, and it is a rare day that we go up and down all day. sb
  12. The lift mechanism is in fact the vertical column you can see at the back of the cart, in the centre between the base part and the moving pod. It is the mechanism used in a hospital bed to raise and lower the pillow end of the bed. On a hospital bed it would be horizontal, and hid under the mattress. In our case it is vertical. Within that column there is a vertical screw thread, with a motor at the bottom. The motor turns the thread, and as the thread turns a metal lug rides up and down the thread. The top pod is attached to the metal lug with a couple of aircraft type metal pins. It really is quite simple. Not in the video, but I am able to do a pretty quick wheel change to large balloon wheels, for off road or sandy situations. It works really well, and gives the crew plenty of laughing opportunities..... Now.... someone build a better version πŸ˜‰ Enjoy, Simon B
  13. See here.... at 4 minutes in πŸ˜‰ Enjoy πŸ˜‰ sb
  14. 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 πŸ˜‰ IMFTM is currently my absolute favourite beer. πŸ˜‰
  15. 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
  16. 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' πŸ˜‰
  17. 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 β€˜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
  18. 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
  19. 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
  20. 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 πŸ˜‰
  21. 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 πŸ˜‰ sb
  22. I wonder if this might help out........ https://www.easeus.com/resource/drive/fat16.htm sb
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