agarrison

Nice description of various types of Antennas and their function/use by Nicholas Field in this YouTube video. https://www.youtube.com/watch?v=MD2PuIZixjA

Thanks, Rado- You are right about Philippe and I reached out to him before posting here. But I am also interested in hearing other people’s experience.

I am looking for the best mount and wind protection I can find for a Schoeps CCM 41 L. I have been happy putting my mic in one side of a K-Tek K-SM mount which is quiet and sturdy . On interiors I just use a BD5 teardrop. For exteriors I have a Schoeps W20 R with the short fur cover, no nylon fabric. It was not enough. So I modified a piece of long fur from an old, Rycote dead cat and that was much better...but I was still getting occasional noise from the side and back if there was sufficient gusts. My solution was to bongo-tie a merino wool neck gator over the mount and overlapping the back of the mic. Pretty good but inelegant. It looks like the Cinela Zephyx with long fur might be the (expensive) answer. I especially like that I can switch from exterior to interior without removing the mount itself. What are your suggestions?

Hi, Chris- You are right, your remaining path for now is to return to the previous firmware version. If that works then there may be a bug in the update but at least you can work until you get it figured out. Andy

yup.

Thanks. There's more to tell from here, but I agree with all of these notes.

I am a production mixer and I teach. I am literally in a conversation at this moment about pulling the plug on all student production. I'd like your thoughts about this. (I am in favor of shutting down).

A dangerous practice as noted in the Zaxcom Maxx Manual. Please be careful out there.

Tried dubbing the cassette to 1/4" on the Nagra while sending the cassette 60Hz tone out to Pilot In on the Nagra--at the crystal plug on the right side. It did not cause the little Pilot indicator on the right front to show black and white on playback. I tried sending the signal through a mixer to boost the gain. I could hear it bleeding through on playback, but still did not cause the Pilot indicator to lock onto it and show white. Any thoughts? If I can't get pilot read on playback, I will just have to import the cassettes directly into Pro Tools with a simple .1% pulldown and sync by eye after.

Everything worked fine on the FS7. I can only chalk up the problem to operator error...Maybe I was not reading it properly after being flustered by not seeing TC on the Amira and spending more time than I had trying to run through problem solving with that. We never used the FS7 after that morning but when I checked it that night--yes with the additional back screwed on, yes with TC switch set to IN--it worked perfectly, as expected. Thanks for the help and advice.

Yes, thanks, did all that. But I have the solution on the Amira. Turns out you have to set the time code to regen instead of preset. Then feed it the signal. Seems to be an Amira anomaly. I got a confirmation of that procedure from a friend working with Amiras for the last few weeks. Tonight I will have to to investigate the FS7. P.S. It is happy with 2 volts out of the EXR. I'll try lower voltage tonight as well.

I am sending TC and audio to an ERX2 and ERX3 . The ERX2 is on an FS7. THe ERX3 is on an Amira. Bother cameras hear the audio. Neither see TC. If I listen at the ERX I can hear TC. This is a 25p project. Need an answer as soon as possible. A phone call also welcome 512-925-6769

Also a nice idea! Thanks. You are right about the customers for this. Low budget indie makers. I was using it because I was trying to operate as a one-man band--shooting film and recording sync sound, and could not afford a Nagra SN. I needed something smaller than my Nagra 4.2 to lug around on the shoulder opposite the camera. Thanks, Jon G. I had to look up the SLP. I only knew the SLO. I have borrowed a 4.2 from a freind that has the internal circuit, so I'm good on resolving from a Nagra. P.S. Much as I love the machines, I am glad we are now in digital audio world. And glad not to have to carry a Nagra 4.2 anymore.

Thanks, Jay and Phil--I was thinking about this way and I reached out to Frank Cook, who teaches Pro Tools courses for Digidesign. I thought maybe bringing the audio and the tone track in together as a stereo track, then manipulating the track with Elastic Audio in Pro Tools so that the waveform of the 60 cycles matched a a grid. He said there is no automatic way to do that, but suggested using Elastic Audio to stretch or compress as needed, for lip syncing. Jeff Kreines suggested re-recording the material to a Nagra, plugging the 60Hz tone into the Pilot In, then playing back from the new 1/4" dub and letting the Nagra's internal resolver do the work. Sounds like a good idea. There is one other option, besides manual syncing it all. The Film Group still manufactures hand-made resolving boxes and modifies cassettes players. So if I want to spend a little money, they could mod the cassette player so their resolver would control the playback motor.

Hi, all--I am looking for a resolver for a modified Sony TC-D5M cassette recorder. I'm resurrecting a film project of mine from 1984 that included recording some sync sound on this device. It recorded 60Hz tone on the right channel and mic in on the left. I still have the recorder but lost the resolver. I wonder if any old timers (such as myself) happen to have one of these resolvers from back in the day, and would loan, rent, or sell me a unit? Alos posting in WTB/WTS. Thanks.