codyman

Radar was constantly in a jam

There are only 10 types of people in the world; those who understand binary, and those who don’t.

I've been using them for about four months now with my psc four pack. So far, I like them. I think my first outing was soured by the fact that I was a stones throw away from a cell tower that would have caused interference regardless due to my extreme proximity. I was in the hollywood hills a few weeks ago on a documentary and due to our subjects rather intense worries about COVID, they would only allow the camera op and producer in their house (despite me being both tested and vaccinated) so I was relegated to the front courtyard. Regardless of the subject moving about the front part of h

Maybe they can do an SSL 80's throwback and bring back the Studio Computer interface. Might have to dust off your 5.25" floppy drives though to save your presets.

I'd consider getting a Nova + zax wireless if I was completely starting from scratch. It would be silly though to ditch 10 channels of Lectro gear + 10 R1a's though at this point in the game. I guess Zax does sell an AES module that slots into the 2 bays on the Nova now but at that point might as well just get an SD 8 series with the little 8 channel AES barnacle on it and save money because in my opinion, Zax is only worth it if you treat it like Apple and go "all in" with just living in their entire ecosystem.

I do mostly documentary work so I'm dealing with a lot of non-actors. I've never had a Countryman B3 (not to be confused with a B6) fail on me. They go for about $200/each when terminated for Lectro and they sound great when you mount them in an Ursa Mini-Mount with Super Stick It. It has been my go to combination for a few years now and it sounds great. I know DPA's would probably sound better given their cost and how well made they are, but the B3's seem to get me 80-90% of the way there for way less cost.

One thing not mentioned here is that the PSC Six Pack has an optional upgrade to interact via the Cantar via USB. Per PSC: The Aaton Company of France has created a digital interface board for use inside the PSC RF Six Pack. This optional PCB can be factory installed by PSC in new units. It allows the PSC RF Six Pack to directly interface to the Aaton Cantar and Cantar Mini recorders. The interface option allows Cantar users to directly view information about their wireless on the Cantar screen. This information includes: RF Frequency Scanning, RF Receiver Frequency Selection,

Kind of wild that you technically can buy a new reel to reel in 2021 for around the price of a Sound Devices 888.

Michael was a huge help over there at AATranslator. He was able to take my 32bit Audition session and sent me back a 32bit Pro Tools session that loaded up perfectly fine with no missing files or anything. I'm definitely going to pick up an enhanced copy Friday when I return to my studio and will have clients that use Premiere send over Audition sessions instead of OMF/AAF's from now on. Hopefully one less headache in the post workflow! Now if only there was a piece of software that fixed "Yeah the files are now coming tomorrow but the deadline remains the same" then I'd really fork over s

Yeah I just talked to Michael Rooney actually and I'm going to send over a little sample session later today. He feels confident it will be able to go from a Premiere/Audition 32 bit session to a 32 bit Pro Tools 10+ session no problem. If that's the case, I'm sold as I can just tell all my Adobe Premiere clients to spit out an Audition export and I can handle the rest rather than the usual back and forth of dealing with OMF/AAF files which clearly are relics that keep on "working" with much to be desired.

Coulda woulda shoulda however the bigger issue is that they were utilizing some of those new Tentacle Sync E recorders since they had mountain bike riders scattered over 200 miles across a desert (recordings actually do sound good when you listen back to them and do help with yelling / loud noises given the 32bit flexibility). It's looking like I'll need to purchase AATranslator which supposedly can export out from Premiere/Audition a native Pro Tools 10+ 32 bit session without having to convert via OMF or AAF. $199 and I've sent the creator an email to double check before I plop

I might have to create a 32 bit Pro Tools session, import their 24 bit AAF, and then use field recorder guide to re-link the actual 32 bit files it seems. Alternatively I am also having the editor use "normalize max peak" to -0.2db on just the clipped clips in his timeline to see if that helps (that setting doesn't normalize all the audio but instead keeps all the volume relative to each other in the particular clip but just makes sure that nothing exceeds that value - all via gain rather than through faders).

I'm predominately a production sound mixer although I dabble doing post audio for little documentary shorts. One of my clients has been using a MixPre 10 II to record their audio due to the fact that they shoot a lot of pretty intense sports where people can be yelling at any given moment etc. They've been editing in Premiere using a 32bit timeline and it has worked out for them in that they've been able to use the 32bit files to recover info from those tough moments that normally would have been blown out. The problem we're having though is that when they go to send an OMF/AAF to me so I c

Well it is definitely odd but given that it is an unbalanced output, maybe try a different cable to A&B it as a possible problem source? You could always give a call over to Sound Devices as they are always helpful too.

I have sent scratch to that camera before and I do recall that besides the physical audio level wheel on the camera itself, there was some sort of setting in the menu pertaining to some sort of other gain level structure of some sort? Sorry for the vagueness but there was something else buried there in the audio settings so maybe look into seeing if that can be adjusted lower?