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Dave

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Everything posted by Dave

  1. Thanks very much everyone - good advice - color-coded pigtails it is. All the best, Dave
  2. Hi All, I picked up this Gator "G-Broadcaster" case for a small bag setup - seems good for a DSLR audio rig. Pretty affordable so I thought I'd share : http://www.sweetwater.com/store/detail/GBroadcast Thanks - have a good day! Cheers, Dave
  3. Hi All, Haven't really put together a bag setup before so forgive a basic inquiry :-)) Just a quick question regarding mixer/recorder cables & connections when in the bag: For example : To avoid constant plugging/unplugging & wear and tear on the mixer/recorder connections, do you use short XLR (perhaps 12 inches or so?) cables permanently connected through the side openings in your bag? Also, would an XLR Male to Female barrel-type adaptor do the same job? How about wear and tear on a mini headphone jack - do you keep an adaptor or ext. cable always plugged in and plug your headphones in and out of that? I'm thinking that hundreds of insertions over time will wear out mixer/recorder input connectors causing a premature repair. Thanks for sharing your practical advice..... have a great day! Cheers, Dave
  4. Hi, I hear my spinning hard drive do this mosquito whine too - I notice it when I route the computer's soundcard output from a Mackie Big Knob to a powered PA mixer. I don't get the whine when going from Big Knob to powered studio monitors though. Perhaps some kind of ground loop thing? Try switching cables from balanced to unbalanced and vice versa, and/or connecting monitor speaker (or power amp) power source into same hydro circuit as the computer and computer monitor. Reverse the polarity on the monitor speakers/power amp? Maybe switching to a solid state hard drive would be worth trying (no moving parts that "whir") Perhaps try a power conditioner - like in a music equipment rack setup? Are your monitor speakers the shielded type so they can be in proximity of your computer/monitor? I can relate - this can drive you nuts. Hope you can solve it - please let us know how you fare :-) Best of luck, Dave
  5. Hi All, Just for general interest, thought some of you may be interested in knowing that Pluraleyes 3.0 is available. Link and Video : http://www.redgiants...all/pluraleyes/ I've used the demo version of Pluraleyes 2.0 on a few hours worth of footage from 2 Canon DSLRs and a Tascam HD-P2. When shooting I had to ensure that I got good scratch audio levels on the cameras - probably best to feed the DSLRs a direct feed from a mixer rather than relying on the internal DSLR mic. All in all it worked well - a real time saver. I found it very interesting to have actually used Pluraleyes because it helped me personally experience the DSLR audio workflow firsthand and influenced my audio setup on subsequent DSLR shoots. Apparently the 3.0 version is more efficient and much faster - anxious to try it. Thanks for your interest.... cheers. Dave P.S. I have no connection to Red Giant & Pluraleyes... just an end user :-))
  6. Hi Jeff and Gang, No big issue but I thought I'd mention that when I've been posting today I've been getting some messages after I send the post (see below) : The posts seem to register fine. No problem for me but thought you may like to know. Anyhow, thanks and hope you're having a good Labor Day. All the best, Dave Strict Standards Warning: Cannot modify header information - headers already sent by (output started at /home/jwsoundu/public_html/jwsoundgroup.net/hooks/tapatalk_classPostForms_9003e08a572c8693f1cfef6ac7f74411.php:19) in/home/jwsoundu/public_html/jwsoundgroup.net/admin/sources/classes/output/formats/html/htmlOutput.php on line 127 Warning: Cannot modify header information - headers already sent by (output started at /home/jwsoundu/public_html/jwsoundgroup.net/hooks/tapatalk_classPostForms_9003e08a572c8693f1cfef6ac7f74411.php:19) in/home/jwsoundu/public_html/jwsoundgroup.net/admin/sources/classes/output/formats/html/htmlOutput.php on line 136 Warning: Cannot modify header information - headers already sent by (output started at /home/jwsoundu/public_html/jwsoundgroup.net/hooks/tapatalk_classPostForms_9003e08a572c8693f1cfef6ac7f74411.php:19) in/home/jwsoundu/public_html/jwsoundgroup.net/admin/sources/classes/output/formats/html/htmlOutput.php on line 137 Warning: Cannot modify header information - headers already sent by (output started at /home/jwsoundu/public_html/jwsoundgroup.net/hooks/tapatalk_classPostForms_9003e08a572c8693f1cfef6ac7f74411.php:19) in/home/jwsoundu/public_html/jwsoundgroup.net/admin/sources/classes/output/formats/html/htmlOutput.php on line 141
  7. Hi All, I was just curious if anyone here does or has done any live to air mixing from a control room or mobile truck? I haven't done anything large scale or high profile - strictly small-mid size local cable station studio shows and some mobile truck work. I have not done this in a few years but thinking it might be an idea to volunteer again at the local public television cable station just to keep that skill set going. I do remember the energy and tension level being higher as productions were live to air but it was satisfying when things went well. Anyhow, thought I'd open up a discussion about this type of audio work (broadcast) versus production mixing and recording. Thanks for indulging and sharing. Cheers, Dave
  8. Hi Rob, I think you've solved it for me. I gently wiggled the cable at all the points along the length and the static appears when I move the the first foot at the mixer end and also the first foot or so at the mic end - probably where most of the strain takes place. Everything in between is quiet. I'll unscrew the XLRs and see about frayed strands touching there too. Since this 5 pin stereo cable is so specialized I'll be sure to get a new one and a backup spare. Thanks for your practical advice Rob. Thanks too Senator.... you called it right.... RTFM.... or better still..... RTMF.... cheers! Dave
  9. Hi Eric, Yes, applied phantom on both channels - audio still the same as when applying phantom to only right channel. The sound of my vocal test itself is fine but it is always accompanied with the bacon frying static sizzle when using phantom - as I mentioned, all is good when only using a battery in the mic. When using phantom from recorder I did not have a battery in the mic. Will keep experimenting. Thanks for your tips :-) Cheers, Dave
  10. Hi JD, Try here on Page 17. You can create your own default setting : http://tascam.com/content/downloads/products/83/HD-P2_Eng_1_00.pdf Quick overview : 1). Push MAIN MENU button 2). Scroll down to SYSTEM MENU 3). Scroll down to DEFAULT PROJECT SETTINGS to check what default project settings currently are. I think if you set all your settings for the machine the way you like, you can then assign this state to be your default setting. Hope this gets you sort of half way along. The HD-P2 manual is pretty good, I find. Lastly, you may also want to ensure you have the latest firmware : ver. 1.06 available here : http://tascam.com/product/hd-p2/downloads/ Best of luck JD. Cheers, Dave
  11. Hi All, I've just rented an Audio Technica 825 stereo mic to experiment with for DSLR ambience. It's got the 5 pin connector into the mic with a split XLR Y cable into my Tascam HD-P2. I'm getting a bacon frying sound with phantom power engaged on the HD-P2 (and the same issue when using a new Fostex DC-R302). The crackling static is present yet intermittent, but is definitely worsened when the mic cable is moved even slightly. This is the case when either recorder is being powered by internal batteries or with an external AC power adaptor. However, when I power the mic itself with an internal AA battery and forgo phantom from the recorder, the cracking bacon static disappears and the mic runs as expected - clean and normal. Is this mic wired differently than normal? I'm using the proper AT cable for the mic. Lastly, do I need to power each half of the mic (XLR right and left) separately with phantom? I do get signal on both right and left with just the right being fed phantom, but not sure if this is correct. I guess I can just use AA power in the mic itself, but would like to get a handle on what causes the frying bacon sound. Thanks for your kind tips and have a good evening. All the best, Dave P.S. I applied phantom from both recorders to a Rode shotgun and had no issues.
  12. Hi All, Just a quick note. Last week (Aug 2012) , Canon released a fairly major firmware update for the Canon 7D. It now has manual audio with graduated gain levels and visual meters in the camera setup menu. I don't think the meters can be seen or altered onscreen during shooting - they could be preset by sending a tone at an optimum level before rolling camera. You can also now run audio in "manual audio levels" or stick with the not so useful "auto levels" (auto gain). Firmware article : http://philipbloom.n.../07/7dfirmware/ Canon site : http://www.usa.canon...versAndSoftware The rest of the firmware features are image/photography related. I'm anxious to hook my Fostex DC-R302 up to the 7D to have a listen to compare the Canon audio to the external Fostex audio. I think that the Canon 7D's internal preamps will still sound a little subpar but may improve to a usable degree for dialogue, at least, due to now being able to set a controlled manual gain level. I'll let you know how it goes :-) Thanks and cheers! Dave
  13. Dave

    Tapio

    Hi Tapio, Nice bag :-) How are you enjoying your Fostex DC-R302? I notice there's another firmware update (1.2.2) available : http://www.fostexint...FKQdEUXAS.shtml Are you working with a lot of DSLRs? Any issues with dc-r302 workflow? How do you find the preamps in the Fostex? Thanks for sharing your tips.... much appreciated! Have a great day and cheers from Canada. All the best, Dave
  14. Hi Soundguy, No worries - I appreciate you sharing your musician experiences very much. :-) Just wanted to share too - didn't want to stir the pot :-) The point of the ad/post was that musicians frequently are expected to donate their free services to a "for profit" enterprise (bar, club, restaurant) under the guise that it will be "good exposure" and they are doing you a huge favour by allowing you to entertain their paying patrons with no regard or concern for your efforts. No harm in beginners getting experience and paying their dues but the trend is that now experienced pros are getting squeezed unfairly. The other side of the coin : Playing for art and creativity (on friends' sessions) is often a labour of love and can have nothing to do with a "paid gig" so I totally understand what you're saying. There are other rewards in this scenario - creativity, teamwork, artistry, self expression, skill building, etc. Thanks very much and I hope you'll keep your music going! Cheers, Dave
  15. Hi Guys, A little off topic, but as a musician (who also does sound) I got a kick out of this clever ad from a musician who seems to be constantly expected to play for free at bars, restaurants, clubs, etc. Kind of similar to the Craigslist and Mandy.com sound gigs that I see all the time. Hopefully good for a laugh : http://ontario.kijij...QAdIdZ403376551 Cheers, Dave WANTED: Restauranteur/Chef I am a musician living in a large house, looking for a chef (sous, short order, cordon bleu, kid starting out at Mickey D's) or a Bar Owner, to come by my house and promote his/her establishment by preparing dinner for me and some friends. This is not a weekly thing, maybe once a month and special occaisions to start, with the possiblilty of once week with favourable responses. We are not too picky about what you cook, or your style, but please no 5-alarm spices or clear broth, something somewhat "traditional". Something EVERYONE can sink their teeth into. You can bring all your pots and pans and knives and spices ( and the food of course), and any and all promotional materials. Don't worry, I have an old wood stove here and an ice box to keep things cool. Sorry, but if you want to cook with wine you'll have to buy the wine. And if any of my guests break anything, you will be held reponsible. If even only in our memory. so if you wanna promote your establishment, contact us with a freeze dried sample of your work. You're Kidding@Right? dot WTF?/STFU
  16. Hi All, I'm looking for an "affordable" clean sounding stereo mic with XLR to capture ambience on my Fostex DC-R302 and Tascam HD-P2. Would anyone know anything about this Beyerdynamic MCE72-CAM stereo mic : http://www.bhphotovi...reo_Camera.html Thanks for your feedback about this mic or perhaps suggesting another alternative. All the best, Dave
  17. Hi AudioMTL and All, I hope your Micron wireless issue gets solved soon. I can relate to your stress. Just a thought about this kind of situation and ways to get through the emergency - I wonder what everyone thinks : - If you're on a shoot and just can't get clean wireless for whatever reason and the shot's too wide to boom, would it be at all helpful to go guerilla style and plant "inexpensive" handheld recorders with a lav on each actor? I know it's a "wedding videographer" technique but if it gets audio, maybe it could work? Perhaps if the actors all stood close together before the action began and their mics could all pick up the same verbal and clap slate, the assorted files could be synced with Pluraleyes later? The new inexpensive Tascam DR-40 would probably be small/lightweight enough & they have XLR in and phantom power - could one rig a lav into it? It would be lovely to have a few Zaxcom units on hand ( http://www.zaxcom.com/zfr100 ) but I can appreciate the budget limitations. Would the experienced guys here feel it's better to have some potentially usable clean audio from "cheap" recorders rather than wireless tracks with noise, too distant boom tracks, wild lines or ADR ? Thanks very much. Hope you get your wireless working and thanks for an enlightening discussion. Cheers, Dave P.S. Would someone on your set have a Blackberry close by? Very nasty interference, I find.
  18. Hi Pascal, I've never worked with the C300. Was your problem strictly regarding timecode syncing an external audio recorder to the camera? You mention that some dialogue was going to camera. Aside from timecode specific issues that you describe, I'm wondering if the C300 is exhibiting the same in-camera 2-3 frames audio to picture sync mis-match as the Canon 7D and other Canon models? I'm wondering if your audio appears to be out of sync when in fact the in-camera audio isn't even in sync with the camera's picture? See my earlier post : I saw someone mentioning on another forum that he believes it's a computer/QuickTime glitch rather than in the camera. Yet to be determined. Please do post if Canon offers any tips. Sorry if I've misunderstood your issue :-) Thanks and cheers, Dave
  19. Hi again Guys, I am using Final Cut Pro 7, where I can clearly see the sync issue.... the video above shows the issue in FCP X. It would be interesting to check it in Avid and Premier too. I wonder if there's a way to scroll frame by frame outside of a computer to check this? By the way, my Canon 7D firmware is the latest Version : 1.2.5. The compact flash card I used is an ADATA 16 GB "Speedy" 533 X http://ca.adata-grou...&piid=41&lan=en I wonder if I played the file straight from the 7D's AV outputs into my old PD150 and then bring it into the computer to check it?? I'll see what they say over at the Pluraleyes site - they seem to be proactive about navigating DSLR sound stuff. If it proves to be a camera thing, which I have a feeling it may be, I do hope Canon can do something about it. If someone has the new Canon 5D Mk III, it would be interesting to see if it has the sync mis-match too. Lastly, the sync problem I had yesterday was when I was in 24p mode - maybe I should check what happens in other frame rates? Thanks again for your interest.... take care. Cheers, Dave
  20. Hi Everyone, Noticing an issue with with my Canon 7D internal "in-camera" audio. I would like to use Pluraleyes to do the syncing and have found it works well matching scratch camera audio to external audio recorder tracks. However, the problem lies in the fact that the Canon 7d's "internal" audio from the camera's own mic is not truly in sync with it's own in-camera video. The audio comes in 1-2 frames before the picture. I shot 1920 x 1080 footage at 24p (internal camera settings) with the internal camera audio at it's 48kHz default. I shot a handclap to camera (no external audio at all) and then view the clip it on the FCP timeline : the audio definitely comes in early by at least one frame. My subjects hands are still spread apart yet I hear the handclap well in advance. Other people are seeing 2 frames early. I may get away with or not notice this discrepancy in general dialogue shots, but when I was shooting a singer lip-syncing to a CD track, every frame seems to count. I guess another way to look at it is that the "video" is 1-2 frames "late" rather than the audio being early. I'm using high speed 10-rating compact flash cards and shooting within 5 ft. of the clap. I thought perhaps the sync was getting bunged up during the MPEG Streamclip h.264 to ProRes LT conversion process. I then viewed the raw h.264 camera file directly in QuickTime - I see that the issue exists straight out of the camera and assume that it's a 7D anomaly. Therefore, I'm assuming that all subsequent audio in the clip is out of sync with the picture by the same 1 or 2 frames (not accounting for any possible subsequent drift). Now, if you sync any external audio with Pluraleyes or waveform matching, it too will be out sync (early) by the 1 or 2 frames. Call me crazy, but shouldn't the in-camera audio be in perfect sync with the in-camera picture? Yes, I gather you could ignore the internal camera audio altogether and sync external audio to picture visually, the tried and true way. I guess it bothers me that a $2,000 7D has this sync problem when my $65 Flip video camera can at least have it's audio in sync with it's own picture. I wonder if any other Canon owners might care to check their internal audio to video sync and report back? I'm seeing reports on some sites that other Canon DSLR models exhibit this same issue. I'm curious how much of a known issue this is. Hopefully a Canon firmware tweak might rectify this quirk... hope so. Hope I've explained my issue clearly. Thanks again for your interest and thoughts everyone. Here's a video clip where the issue is demonstrated : All the best, Dave
  21. Hi all, Thanks again for starter package equipment advice last week. I've been asked to do a corporate/industrial shoot ; 10-15 full days spread over 3 months. The business part is new to me so any "rate" advice will be highly apreciated. I'm in Toronto, Canada. Here's what they need from me for their 1 or 2 camera shoots: 4 CH ENG mixer Shotgun and Hyper on boom 4 Wireless rigs All additional basic gear:cabling, power, etc. Backup audio to my Tascam HD-P2 I can handle pricing a basic setup, but how do I quote on 4 wireless units? Do I do a basic rate quote for typical gear including 1 wireless, and quote an additional rate for each additional wireless? How solid is a deal memo or do I do a more formal contract? I've never dealt with this client before, but would like to make things happen. Thanks for offering your help to a newcomer. All the best, Dave
  22. Hi gentlemen, Thanks for taking the time to offer your expert advice. So, to have a point of reference, I should look at the SD302, 2 Lectro wireless systems, 2 varied mics (Schoeps and Sanken), 2 Countryman Lavs, Boom, wind protection, etc. I should buy used/demo peripherals (power, batteries, cases,cables etc.) I'll let you know how I make out. Thanks very much and all the best. Regards, Dave
  23. Sorry...bad links. Here are the packages I'm looking at: ENG Plus Package CA$8,515.00 http://www.trewaudio.ca/store/files/images/d_759.jpg 1. K-Tek K-152CC 12’ 8" carbon fiber coil cabled boompole 2. Lectrosonics UCR411A Portable Receiver and UM400 Transmitter 3. Sennheiser MKH60 short shotgun microphone 4. Electro-Voice RE-50B interview hand mic with foam windscreen 5. Tram TR-50 Lavalier microphone w/ battery power supply, wired for Lectrosonics 6. Rycote Softie shockmount w/ Softie wind cover 7. Sony MDR-7506 headphone 8. XLR coiled jumper cable for boom to mixer 9. 25ft XLR cable 10. Sound Devices 302 11. Break-away cable for mixer to camcorder 12. Right angle XLR receiver output cable _________________________________________________________________ Field Production Plus Package CA$12,895.00 http://www.trewaudio.ca/store/files/images/d_739.jpg 1. K-Tek 152 Carbon Fiber coil cabled boompole 2. Micro-Cat furry windscreen 3. Sanken COS-11 Lavaliere microphone wired for Lectro transmitter 4. Comtek M-216P pocket transmitter and two PR-216 personal wireless receivers 5. Electro-Voice RE-50B interview hand mic with foam windscreen 6. Rycote Kit 4: Windshield, M-2 Suspension, and Wind-jammer 7. Lectrosonics UCR411A Portable Receiver and UM400 Transmitter 8. Remote Audio BDS (Battery Distribution System) with cables & NP-1 cup 9. Sennheiser MKH-60 Short Shotgun Microphone w/ windscreen 10.Sound Devices 442 11. Two 25ft XLR cables 12. XLR coiled jumper cable for boom to mixer 13. Remote Audio Adapt-a-Pak connector adapter kit 14. Sony MDR-7506 headphones 15. IDX JL2-Plus Multi-format NP-1 charger and power supply 16. Two IDX NPH50DX NiMH batteries 17. Break-away cable for mixer to camcorder 18. Pelican 1600 case Cheers, Dave
  24. Hi all, I've been researching the heck out of equipment choices for quite some time and have become familiar with most all of the quality equipment available. To date, I've been paying my dues and getting experience with mix and match rental gear. Essentially, I'm looking to put together a "pro quality" package that will be reliable for docs, TV lifestyle shows, and small independent films. Here are the 2 packages I have been considering:Â http://www.trewaudio.ca/store/product.phpproductid=712&cat=66&page=1 http://www.trewaudio.ca/store/product.phpproductid=482&cat=66&page=1 The biggest debate I've been having is whether to go the distance with the SD442 versus the SD302. I've been getting advice to go with the SD302 and put the difference into a 2nd wireless. I'm also not sure that the Sennheiser MKH 60 is my mic of choice...perhaps the new Schoeps shotgun or a Sanken Cs-3e? I want to be able to handle pro situations and be paid accordingly. I've been trying to crunch the "return on investment" numbers...any thought as to what my day rate (rental plus labour) should be for either of these equipment setups? I'm in the Toronto, Canada area. Thanks for all your expert help...much appreciated. Best regards, Dave
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