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Hotfoot

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    Sound Recordist

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  1. Using Current Version 2.03, recording polywavs at 48khz 24-bit. Left and Right mixes and 2 or 3 ISOs. Not feeding any external equipment other than a transmitter to video assist. Not monitoring a return from anywhere. Running TOD TC at 25fps . By 'keypress beep erratic' I mean the beep one normally hears when hitting record or stop is absent, and the slate mic isn't heard over the 664 headphone out, when this faulty mode arises. The other guy experiencing the same issues couldn't clear it the other day, until he'd powered down for an hour over lunch, at which point the 664 began behaving normally. No return involved, Jim. Syncing to TC on an Alexa. Will folllow your suggestion about sending them the setup file. Cheers, John
  2. Myself and another mixer who has a 664 have both been experiencing the same sort of issue where (for example) i would select LRSTEREO on the headphone selector, but only hear LRMONO. Attempts to change the headphone matrix output will result in no output. While in this faulty mode, other functions such as keypress beep and slatemic monitoring become erratic. It took several reboots for me yesterday to clear this issue, and my other mixer friend seems to suffering more so, and indeed couldn't clear it at all yesterday. This problem only seems to affect the headphone output. The meters appear fine and the files are unaffected. If this issue has been discussed on here can someone please point me to it? I tried a few searches but came up with nothing. Cheers Guys
  3. I have begun putting a thin strip of camera tape on the digislate sticks with the words 'Camera Audio Guide Only' written on, in bold capital lettering. No complaints yet.
  4. PS Anyone noticed the electric shock one receives when inserting a finger between the facia and the unit, when backlight is on? Livened my day up….
  5. Is there a cheap fix for this? Replacing the facia is $125 in uk. I suspect it would only result in the same issue re-arising anyway. How is the original facia adhered? Sorry to seem like a cheapskate. It's one of those things that is niggly, without being worth investing in costly repairs for. HF
  6. Wow - Full marks for response time! Thanks Charlie, I'll get an email off to you now, as I'm happy to replace the overlay myself. Many Thanks, HF
  7. I have this problem. ACs ripping camera tape (in the absence of a permanent pen) off the board separates the plastic screen from the rest of the slate. Mine is about one-third off, and the section in which the facia is not adhered to the board has no backlight. Pressing the facia on by hand temporarily relieves the backlight issue, and also stops the whine emanating from the device. I have thought about glueing the face back on, to see if this solves the problem, but I am reluctant to in case it fails miserably and becomes more difficult to repair. Charlie, or anyone; Can I repair this myself, rather than sending it off for an expensive repair? It's surely an adhesive thing, as opposed to a fault with circuitry. All the best, HF
  8. The OP wasn't about how to send audio and TC to a camera, but what can be done to prevent scratch tracks being passed from pillar to post right up to and including the final product.
  9. Your inability to empathise with the issue as a result of not having it doesn't help. I have worked on many, many productions, and the vast majority of them have no issues. I was referring to a minority of cases in which problems arise. Your answers are all well and jolly, but do not help in the discussion. Thanks anyway.
  10. How does one record the 'best possible quality' to a radio receiver strapped to an Alexa on a technocrane , or a steadicam rig, via a radio link into a 5-pin xlr, or worse? Your notion is all very well, but often unachievable in practice. I think you are being unfair, and overlooking the reality of what is achievable at short notice.
  11. Thanks, Phillip. It's the human element which gives rise to these complaints. I suppose I wanted to throw it out there, and find how others have dealt with it. So in that sense, it's not really a technical question, rather one about how to make a point heard in a system which doesn't cater for it. I have been discussing the possibility of emailing edit houses about it. Early days, though. Thanks
  12. This is an issue that I've been hearing about (in UK), particularly in commercials. A lo-rent scratch track is sent to camera, often via radio link, ew300 etc, to facilitate a quick off-line edit; and this audio ends up making it through to the final edit. We supply the files to the DIT, but they never get looked at. I recently heard about a case whereby the scratch track was actually sent off to be cleaned up by a post-facility. The repercussions of this are immediately obvious. More importantly, the poor sound mixer is made to be the scapegoat, even if he later points out the problem. What can be done about this? So many jobs are completed every day. Even if 1% of these result in this confusion, it is an issue. Any suggestions? I have begun making sure that I inform the Production Manager on every job, but it is all too easy for this to happen, given an oversight, or a lapse of memory. HF
  13. Or...... An idea could be to have it control channels 1-6, but with the ability to add the rotary pots on the 664 to control channels 7-12, at the push of a big red button with a safety cage over it.....
  14. Flatbed as opposed to rotary type. See Sound Devices website for pictures of the 664. If I had limitless funds to buy equipment, I wouldn't be in this game; hence the post regarding the use of a mixer without DOs.
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