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axel

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Everything posted by axel

  1. Thanks Joppe for this nice little 8-bay NP-50 chargers. I was surprised they work on 12V as well, so I'll put one on my cart.
  2. Brent, how do the Sanken cables perform in the long run, after your Xylene treatment? I mostly use DPA Lavs and found that any treatment with alcohol or even stronger ingredients seems to dilute the softeners from the cable shield and lets their Mogami cables become totally stiff after some years. So in recent years the most "aggressive" cleaner I use is dishwashing detergent and since then cables keep their softness.
  3. axel

    MOS

    I once heard it stood for "motor only sync", but do not know myself what the meaning could be.
  4. hi WrineX, I need one of your 8-bay chargers too. Add me to the list, please!
  5. I have owned a 788 for some years and currently work on a 833 for docus and a Cantar X3 for scripted cart work (with typically 10 wireless channels). I've never used a Sorpio. I am mostly doing rather fast paced TV series with like 5-8 minutes a day and I love the X3 especially for: - metadata handling (native X3 supported by a wireless keyboard is faster and with better overview than SD remote on a separate iPad; Cantar lets you edit metadata during record, including use of shortcuts for scene advance. I often find myself listening to the slate and typing in the new number. Batch edit of multiple takes, like inserting or deleting comments or correcting slate numbers of takes way down in the list is also easy. ) - playback capabilities (scrolling through the waveform of a lav mike brings you to the line in question in 3 seconds + with track solos right on your finger tips you can jump through the tracks on playing back and forth with the scroll wheel. I am frequently checking overlaps, lav issues etc immediately after the take & I can be very quick to give an OK on sound. Not even try that with the 788 or 833. - compactness: even the stand alone X3 recorder with it's linear faders, scroll wheels and the big screen provides a dedicated cockpit for piloting it. I've skipped the "Cantarem" external faders and never used a Cantaress for weight reasons, as my cart has to be carried up the stairs in narrow locations frequently. The only add ons are a cheap wireless keyboard and a set of 8 extra rotary faders to quickly control more inputs and if necessary mix more than 10 tracks. - X3 is very versatile and can cope with even rare requirements. The setup screens are comprehensive and quick to access, but the logic is different to SD. Scorpio menus will be more familiar to you if you have used a 633 before, but it will be a matter of the first week only. To be fair, the plus points for the Scorpio would be - the price tag - the more familiar menu structure - the Cedar Option - some more mic inputs (X3 got "only" - maybe it consumes less power (X3 typically draws between 15 and 25 watts)
  6. on top of the SMBUS info those IE batteries can be "branded" by software. So Aaton at first only provided basic SMbus functionality like discharge % and provisional runtime with non Aaton branded batteries. With branded ones you could also see the actual capacity vs nominal capacity, nr of charge cycles and some more.
  7. G2/G3/G4 will work fine with IEM, robust setup, great reach, batteries last for 12+ hs. You can add EK1039 as additional Rx, wich are user freindly and a little cheaper, built like tanks, sound is OK for IEM and no compromise in reach.
  8. audioroot now has two "half size" battery lines, the classic 49 WHs and the "neo" 48 WHs. The difference is that the new "neo" ones sport an oled display that lets you read all battery data even without being connected to SMBus gear. The slightly smaller net capacity seems to be due to the additional power needed for the display and ICs. But the price is awesome: the new series is about 30% cheaper than the traditional (101 USD instead of 145). With new Software Cantar X3 can now also read non Aaton battery data, so very likely the Mini can do it too.
  9. Hi Olof, I'm a little late to chime in, but there are a few "specialities" you might want to know about your SX-R4: - CF card: the thing is a matter of firmware. The initial release in 2007 or 2008 was indeed with only "mix"tracks to CF. Current Firmware allows for all tracks to CF. I'd recommend to upgrade to the latest version for hassle free operation with UDMA cards. - There is a SD to CF adapter made by Sonosax specifically for the SX-R4. With this you can run up to a 512 GB SDHC Sandisk extreme pro card. I do use my R4 also as a direct AES backup for my Cantar X3 and just leave it recording with 8 tracks throughout the day. When the HDD is full, the SX-R4 continues recording seamlessly to SD only. -The original 30 Gb HDD is quite small, but mine is still functional. Noizboyz in the Netherlands offered an SSD upgrade 2 years ago, but they say there is no more parts available (I wanted to upgrade early this year) - SXR4 is reliable and easy to record. There is not many features, so no errors to commit either, just a good sounding easy recorder. - The playback engine is a bit clumsy and unusual to operate, but if you don't have to use it too often you can get along with it. - Metadata: are limited to scene and take numbers and some indicators like "circled", "wild" or "no good", but metadata handling is hidden inside the menus and slows you down. - Power: SX-R4 is the most power efficient recorder ever (big plus!). An external halfsize audioroot battery (49Whs) will carry it through most of a long day. 6 AA cells the inside the internal battery compartement give you another 5 hours, 6 Lithium disposable AA's would go for up to 7 hs. But careful, Lithium cells in the inner compartement are interpreted as "first choice power" until their voltage drops below 1,5 V , so they get depleted first an only then the external power will be drawn (no switch to select beteen intl and extl power). With NiMH cells in the inside compartement, SX-R4 will switch to internal powering only when it does not see external powering. Power switching between intl and extl goes seemlessly even during recording, just make sure the inner battery compartement is properly closed making a safe contact, which is somewhat of an issue with my very first batch recorder. - Mixing: There is no downmix possible! You can just record ISO's and select for a coice of summed channels for the 2 outputs or your phones. This is not state of the art for modern location sound, but good for use as a 2nd unit or ambiance recorder. - Channel count: You have great 4 Mic pre's with georgeous transparent limiters and 2 line inputs, which by no means should be overloaded (can destroy audio on other tracks too!) With a proper input cable you can add up to 8 digital inputs too. The coice of inputs can be selected for cannel pairs only and is rather fixed which goes where. - Form factor: SX-R4 is very light and small, but just big enough for easy handling.
  10. Those wind noise algorithms are truly impressive. But I guess all of it's speech recognition is built around the LOUD voice of the person carrying the unit, who is actually acting out (performing sport). No other voices close by in such a setup. Compare that to the many voices on a film set and your boom op whispering into a private line. I doubt that you would get some usable performance, even with a modified BT microphone, because I don't think you could adjust a treshold for the voice recognition.
  11. those are placeholders and don't contain any sound info
  12. Excellent!! Price was € 9,00 + VAT per piece at the local dealer here in Austria. Screw threads are metric measure here, so it is hard to find generic replacement.
  13. Advice from Austria: Stroh Rum 80% will enhance your tea in Wintertime, but terrribly stiffen your lav cables throughout all seasons. I'd never buy a used DPA from over here ;-)
  14. For some actors I use them upside down, so they poke out to the downside of the button.The above pic by Henri Rapp shows very good the principle of a B6 mount (although it might be a 6060), imagine it 180 deg reverse, to avoid the nose blow. Thanks for the pic!
  15. +1 for all experienced posters above. There is no one-4-all recipe, neither a few tried options which together will cover almost any situation. It is many variables that determine your mounting options, just to name a few here: talent's body shape costume fabrics and colors special hiding possiblities (button holes, necktie, scarf, hat/cap...) a trained eye and ear for fabrics and costume layers: how muffeld will a certain mounting option sound if one ore even two specific layers of fabric will cover the mike; which fabric layers will move and rub on each other in the shot and how will that sound; will a thin layer suffice to cover the wind noise or does it require Tx mounting options and antenna placement requirements talent movement and body positions required by the scene experience with movement patterns of your particular actor body orientation voice level former experience with talent's voice wind (important) mouth or nose blow from particular talent a very good knowledge of your lav mikes and mounting accessories a good assortment of sticky tapes, tools and gadgets and many more... Best is to get started by a close view on talent's wardrobe, making sure that what you see now is exactly what will be there in the moment of shooting. Try to know as many of the parameters above, especially about movements and talking positions. Your personal experience resulting in a small arsenal of miking techinques covering your standard situations now comes into play and your trained eye, your experience and your good communication with the talent will get you to a decision within some seconds. Now if you are a novice to the business, don't hesitate to start working on this arsenal of your personal miking techniques, make sure you always listen to what you previously miked. Confronted with problems, look for a chance to find out WHY it does not work! Depending on the talent you might have a few tries to improve your mount. Try a different solution, as long as your talent is comfortable with your actions. Miking people is a very complex task. No one can claim 100% success, not even regarding only "acceptable" results. 80% "OK mounts" are good for an experienced guy or girls. For a beginner 20% "OK" mounts will be rather normal. Be prepared for the learning curve, it will not always be steep, but gradually improve towards the 80% or even better.
  16. axel

    Lectro PDR Users?

    lots of uses for PDR and SPDR, some not so conventional: Equipped with a DPA 4098 gooseneck hypercardioid and velcroed to an Alexa Mini, the PDR acts as a preamp/camera mic (Cam has line level input only, but can be fed from the PDR; the gooseneck streches out to the end of the lens. Easy TC jamming for external recording as a backup, ACs could handle it for some remote second unit guide track recording. SPDR acts as a recorder for low profile binaural stereo recordings (nowadays with DPA 6060's attached to the in-ear monitors, with moderate wind an overcover on the mic works fine). I am working on custom made earmuffs for even better wind protection SPDR also grabs high quality stereo recordings from an RSM191, attached to the 191 matrix box which provides power to the mic. SPDR with a proper minijack to 2xTA5 cable records audio from any analogue consumer source with headphones output. Quick/easy/low profile, also for private use SPDR acts as a timecoded stereo backup recorder for your cart or bag system. Caution: as the PDR/SPDR inputs are all unbalanced, there might be grounding issues when the SPDR is sharing external DC powering with other gear Caution: When using the line output of PDR or SPDR as a loop through into other gear, make sure you don't use the dual track -18dB split level option. Or if you must, check the proper wiring of your cables and run a test. See a photo with SPDR and VT500 mics atttached to my UE-4 inear monitors for ambience recording
  17. it works well with commonly available shrink tube, small diameters. Pull off the cap from the capsule first ;-). And btw, if such a mic lasts for 15 years, chapeau! I love the B6 because of their mounting options in plain sight. Sure their specs are inferior to COS11 and DPA, but often the way you can mount the mic has far more impact on sound than self noise or frequency response. Lately I find myself using the DPA 6060s a lot, but even those are more than double size compared to the B6 and their visual impact does not allow for under the shirt button or plain sight.
  18. yes, you are right. but you can also use the 4 wire cup for any 2 wire hirose connection.
  19. to keep you updated: We did the shoot and the client company confirmed the FS7 accepts 25 fps TC in "locked" 50 fps mode. In this mode it also records sound on camera. There is also a variable high speed mode, where sound recording and TC input cannot be used. I asked about post workflow and they go with Premiere pro. It was days 19-21 of a docu series, they had already edited several episodes using sound from external recorders with the very same setup. Only for interviews they switched to 25 fps. I had a Tiny Lockit attached to cam and also fed them a scratch track via a G3 hop. Client was happy.
  20. they have been shooting with that setup at several other occasions with different sound people every time. The camera guy says TC has worked with 50 fps but is not sure about the settings. It is unclear how they handled the post workflow or if the footage has been synced up at all so far. It is a sports doc where they want to be able to use a 50 fps slo-mo any time. Meanwhile I found, that Tentacle claims it's sync software can handle 50 fps. So maybe I'll use a Lanc logger and send the second TC output to audio channel 2 on the FS7. Slating will not be an option I guess. Anyway, I'd like to know how others did the job with the same requirements. I guess I'm not the first one here.
  21. I have a shoot coming up by the end of the week, same setting, PAL land. How did you manage to get it done? Cameraman says they've been using a TC syncbox and a guidetrack to cam so far, but does not remember which TC settings they were using. I doubt, an FS7 will accept TC @50 fps at all.
  22. Bubblebees, Rycote Furry Balls or DPA Windjammers work the same. For real high wind conditions they won't suffice. If you used the 4060s for lav miking, you'd then use those furries plus one layer of clothing fabric as an additional wind breaker, which will work OK, but alter the sound to more muffling. But for ambience you need it clear and airy. Wind protection works better, if the wind breaker is moved further away from the microphone capsules. So it will be a good idea to fit the mics inside your basket then (rycote, rode...) and try to lose the furries and the dead cat around as much as possible. The best wind protection is to find a space where the wind is blocked by big objects close by, like car doors, walls and such
  23. I 've worked with the YPAs when the old original DPA adaptors were still delivering very hot in gain on the Lectros. DPA changed their configuration some years ago, since then their adapters work smoothly. YPA has the right config, but the threading on the microdot side of my adapters was poorly made and with actors movements they easily lost connection. Maybe this has been fixed in the meantime, but when the new DPA 3056 came out I switched back to the originals and have not have any failure since then.
  24. hey, Jule, a bit late, but the older Cantar X1 and X2 treat MS the same way as X3 and mini. Record discrete MS Iso's and have your stereo width on a sliding fader for the mix. Their used street price is about € 4.000,- or less. If you are satisfied with 6 Iso channels those are a beautiful option, best build quality, best preamps, best limiters, best energy efficiency.
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