Ty Ford

and gynecological device.

My first distance check with the TX2040 was very similar to the range I got with the 2020 series a few years ago. At its 50 mW output, I was amazed then by how far the 2020 carried then. The 2040 carried as far on my first tests. In one new test, I got 1,100 feet through a relatively clear suburban setting with only a few parked cars, shrubs and trees and a ten foot high wooden fence. No other wireless I have used has given me that range. A few days later, after a changing from 540.3 MHz to 540 MHz, the range of the TX2040 was down 60%. Us- ing the scanner software in the palm pilot, which links to the DX2040 receiver, I found nothing at 540 MHz. I bumped the frequency back up to 540.3 MHz and the range went back up to 1,000 feet. The take away message is that the scanner can let you know of blunt force problems like TV carriers, but can’t handle the little stuff that can make your life Hell. Regards, Ty Ford

OK, then, how about this? Regards, Ty Ford http://tyfordaudiovideo.blogspot.com/2013/02/schoeps-supercmit-dsp-steered-digital.html

does it have an auto mixer?

Thanks Bud, Tim, Rick, Seth, Phil, Old, Eric, Jan, Vasileios and Pedantic. Mixalot: Hahahaha! Yes, well, I've been working on dropping some weight since lat May, but I do eat my BIG meal at lunch and I do love me some ribs from time to time. I have always had a very good relationship with Jon, so hopefully part of what you're seeing is that coming through. Yes, it's a gear thing, but people make the gear. One piece of gear may be an extension of many individuals. Maybe, just maybe, the more we know about the people, the more we know about the gear. I have been in the right place at the right time with some very smart and talented people, both sound people and manufacturers and have learned a lot from every one of them. I've had some magical lunches with tonemeisters/mic designers from AKG, Neumann and Schoeps that have been very revealing. Their patience and generosity with their technical knowledge has helped me understand how mics and preamps work on some very advanced levels. So, a lot of gratitude from me and it feels very good to be able to break through the barrier, grab someone real and shine a light on them. I'll be doing more of these, so if you have any likely candidates, folks you'd like to see and hear from (not on the floor of NAB or AES) please let me know. Thanks for your passing grade and tolerance for the mildly hairy production values. I plan to use a better camera next time.

Hi Tim, No, I'm not. I review gear as part of my living. Some say I halfway know what I'm talking about. PM JW for a reference, and/or check references here. I've known John Tatooles since before the 442 came out. I've met key people in the pro audio industry on the mfgr side and on the user side for years. As my profile says, "My mother bought me my first tape recorder when I was nine years old." In addition to location recording my other work is at www.tyford.com. BTW, I'm thinking about being in Kansas in May. Know anything about Overland Park? Regards, Ty Ford

The thumb nail makes us both look like we've been Sleepless In Vegas for three or four days, very funny!

A. Like swrab, CMC641 thumbs up. I've used cmc641 outside from the east Capitol steps to inside crappy sounding sound stages that ring like a friggin' bell, to recording studios, to "normal" rooms. No problem. Last time I recorded sax here, the cmc641 beat my beyer m160 hands down. If it's about what you see in trade magazine shots, consider the Yamaha NS-1 small monitors were in the shot of almost any multitrack console in MIX for a while and they absolutely STINK. Regardless, their appearance caused some stupid lemming-like reaction in the market and Yamaha went to the bank. B. Senator, my pal, please lose the hat. HNY to all, Ty Ford

LOOONG handle on that mic is sort of neat. It sounds a little chestier than an RE50 N/D. What $200 street? Regards, Ty Ford

Unlike the KM84, which is a neutral sounding mic, the KM 184 is pretty bright. It's a cardioid, not a hyper or super.

That was Eric Toline's patented trick.

In the USA, getting levels right for submission in post has been way behind the rest of the world. I just had a chat with my friend Bouke in Holland who has a neat and inexpensive piece of software you might want to look at for $29 Euros. It's called LoudnessChange (for Mac or PC) and is part of a suite of odd little apps from VideoToolshed. http://www.videotoolshed.com/product/68/loudnesschange Open LoudnessChange, select a profile (they're different in different parts of Europe and he's just added a Fox profile for the US). Click Analyze to check the file. Click Report to get a second-by-second report of where your audio is over, and with simple overall gain problems, click Render to generate a new file that meets the specs. If your audio has individual specific problems, Loudness Change will create a time-based file to show you where the problems are and you can fix them manually. He’s pretty open to thoughts, so if you see the need for something, be in touch. Anybody else using LoudnessChange yet? Regards, Ty Ford

http://transition.fc...A-12-1514A1.pdfhttp://transition.fc...A-12-1514A1.pdf

http://tyfordaudiovideo.blogspot.com/ Stop by and say hi. Regards, Ty Ford

We were going to shoot my next movie in India, Vin, but if you want to break my .....about this I'm sure we can get a good deal in Pakistan. Best, Ty ------------------------------------------------------- From Jas to me earlier today... Redding is our new US distributor and Vark is now one of his dealers Regards, Jas Lotay Sales and Technical Support Audio Ltd T:+44 (0)1494 511711 F:+44 (0)1494 539600 W: www.AudioLtd.com Yes it is official now Regards, Jas Lotay Sales and Technical Support Audio Ltd T:+44 (0)1494 511711 F:+44 (0)1494 539600 W: www.AudioLtd.com

Effective Immediately. http://www.reddingaudio.com/ Regards, Ty Ford

Here's an answer from Rode's Andy Taylor.... I've been and checked a few of these switchcraft connectors from our stock with a few different mics. The 416 does seem to be a little loose for the connector (or the connector is a bit small for the mic, whichever way you want to see it). I've highlighted this QC issue and we will review the drawings to ensure the connector is up to spec. All our RØDE microphones come with a small blue rubber 'ring' that can be inserted into the mic XLR socket to assist in a firm connection from an XLR cable. I checked this on a 416 and it did the trick nicely - if anyone who owns a blimp and is having issues would like one of these I would be more than happy to send some out with our compliments. Just ask them to contact RØDE technical support (support@rodemic.com). Kind Regards, Andrew Taylor Service Manager RØDE Microphones / Event Electronics

How many other lavs of that size and dimension have you tried to conceal that have been better? Regards, Ty Ford

http://www.reverbnation.com/store/view_item_merch/artist_390948?item_id=365434&merchprice=22.99 Your thoughts? Ty

Whitney, "rent one while the other gets repaired" Yes, I know that syndrome. I have a guy here who hires me and then says, "remember we still have a problem on that right channel." In truth, I wonder if it's them not having a good tech firm to take stuff to. I'm in Baltimore but range from Philly down into Virginia. I don't have a clue who they might take a camera to. Regards, TY Ford

I'm thinking I ran into a DSR500 with a calibration problem last year. How old are the DSR500? Ty Ford

After sending 0 tone from a 442 to a Sony DSR 500 and setting its level at -20, I was getting typical peaks at -6dB on the 442. The camera op requested peaks at -20 on the camera (0 on my 442). He said anything over that and it would distort. Although the headphone return was clean, I obliged him, but warned him of under-record. Tonight I get an email in which he says the first section was distorted. He didn't say whether the distortion was visible on the waveform of just through the monitors. I called and left a message asking him to put the offending tape back in the camera and listen to the headphone output. Does anyone have any info on the DSR500 that might cause this? I'm guessing his camera meter calibration could be off, but again, the the headphone feed was clean, or maybe there's something wrong with his audio gain staging. Would it be possible for the calibration to be off in such a way that the headphone (input) feed would be clean and camera meter levels were peaking at -6dB, but playback would be distorted? Regards, Ty Ford

The link was apparently too long- here's a short version to got to the piece. http://tinyurl.com/2bmk8ek Robert, thanks for posting the it above. Again, here's the link for just the petition. http://www.gopetition.com/petition/39328.html Regards, Ty Ford

And pass it on... http://www.gopetition.com/petition/39328.html Thanks, Ty Ford

Here's what I'm thinking... http://tinyurl.com/2bmk8ek