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NOLAfishwater

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About NOLAfishwater

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  • Location
    New Orleans, Louisiana
  • About
    Live music recording

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  1. Say for converting old DAT tapes, taking a digital signal from another recorder, or being able to connect with spdif out from my CPU. Its not really that important. More just a want than a need. Thanks for answering my question.
  2. Tom, do you think that with a future firmware upgrade that one of the bnc connectors can we used to accept a spdif signal as well? The only cable I have found out there that will allow you to record SPDIF in is this ALVA cable http://www.alva-audio.de/en_products.php?page=content/products/en_cableware_aesebu_product&subpage=content/products/en_aes_id
  3. NOLAfishwater

    We Cordially Invite You.....

    right round the cornda.
  4. sorry for the delayed response. Isaac kind of got in the way. No power for 6 days. looks like most of the questions sent my way were answered. I hacked the factory power cable for the bp160 and wired a 4pin xlr on the end.
  5. NOLAfishwater

    Bang for the buck bag power?

    http://www.bixnet.com/bxu05.html superlight Weight: about 145g or 5 ounces 17 Watt Hour $65
  6. NOLAfishwater

    Bang for the buck bag power?

    it fits perfect in the RM multi extreme. I personally do not carry my bag all day. mostly just sits in one place. the same company also has a smaller 98 Watt Hour battery for $149 MP-100 http://www.bixnet.com/pm100.html Capacity: 98 Wh Weighs only 1.8 Lbs. or even lighter than that: http://www.bixnet.com/exnobapo80.html Capacity: 73 Wh Weighs only 1.4 Lbs
  7. NOLAfishwater

    Bang for the buck bag power?

    I use this $200 153 watt hour battery. IMO its the best bang for the buck out there and you can buy. http://www.bixnet.com/unpowbat.html $20 VESA mount kit http://www.bixnet.com/vesa150.html
  8. These mounts are custom made and can be used with any shockmount that accommodates 20mm diameter. They are compatible with the following microphones that utilize remote cables: SCHOEPS KCY/KC5/CMR with MK capsules and CCM ug/lg DPA Lemo style 4023/4028/4053 BUSMAN BSC2 http://www.busmanaudio.com/bsc2.htm PRICES INCLUDE SHIPPING NOS 30cm 90 degrees $70 DIN 20cm 90 degrees $65 DINa 17cm 90 degrees $60 ORTF 17cm 110 degrees $60 Vertical Address or A/B with spacings at 17cm and 20cm $70 MidSide at 0 degrees $65 A/B or Vertical Address w/ Spacings at 36, 43, and 51cm $100 ORDERING INFORMATION: Please email me at nolafishwater @ live.com with what you want to verify stock. ORTF (17cm @ 110°) The French Radio Organization developed this technique. A high quality, matched pair of cardioid condenser microphones are placed 17 cm apart at an angle of 110 degrees. The ORTF stereo technique uses two first order cardioid microphones with a spacing of 17 cm between the microphone diaphragms, and with an 110° angle between the capsules. This technique is well suited for reproducing stereo cues that are similar to those that are used by the human ear to perceive directional information in the horizontal plane. The ORTF stereo technique provides the recording with a wider stereo image than XY stereo and still preserves a reasonable amount of mono-information. Care must be taken when using this technique at larger distances, as the directional microphones exhibit proximity effect and will result in low frequency loss. The distance from the sound source will determine the amount of room reverberation. When further away from the source, the recording will result in more reverb and closer placement will have less room sound. ORTF is very popular for outdoor recording where there's not as much reverberant sound as there are surfaces to reflect sound. A good starting placement for an ensemble would be approximately 7 feet away and 9 feet up. NOS (30cm @ 90°) This technique was developed by Dutch Broadcasting (Nederlandsche Omroep Stichting). The spacing of the microphones emulates the distance between the human ears, and the angle between the two directional microphones emulates the shadow effect of the human head. If used at larger distances to the sound source the NOS stereo technique will loose the low frequencies due to the use of pressure gradient microphones and the influence of the proximity on these type of microphones. The NOS stereo technique is more useful at shorter distances, for example on piano, small ensembles or used for creating stereo on a instrument section in a classical orchestra. The NOS stereo technique provides the recording with a wider stereo image than XY stereo and still preserves a reasonable amount of mono-information. DIN (20cm @ 90°) (Deutsches Institut für Normung)The DIN technique is based on the spacing of the human ears. It is similar to NOS, however the cardioid microphones are 20cm apart and at an angle of 90 degrees. The DIN stereo produces a blend of intensity stereo signals and time delay stereo signals, due to the off-axis attenuation of the cardioid microphones together with the 20 cm spacing. DIN and DIN(a) have the 90 degree angle which reduces the amount of reverberant sound that's coming from bounced sources instead of directly from the source. DINa (17cm @ 90°) A modification of DIN which is designed for use with hypercardiod microphones. It still uses the 17cm (average distance between human ears) which helps to create a natural time delay and stereo image. The closer spacing creates a stereo image is more accurate and less reverberant. DINa results show a slight decrease in low frequencies which can be very pleasant for field recording in cavernous or odd shaped rooms. MIDSIDE This technique uses two microphones placed close to each other. One microphone has a cardioid pick up pattern and the other with a figure 8 pick up pattern. The cardioid microphone faces the ensemble (this microphone picks up the Middle). The figure 8 microphone is at a right angle to the cardioid (this microphone picks up the Sides). The cardioid microphone is panned to center. The figure 8 microphone is split into two channels and panned hard left and right. The phase of the left remains normal while the right is reversed. By increasing the level of the figure 8 microphone the room acoustics (reverb) will increase. The MS stereo technique is excellent for mono compatibility. This mount requires the use of two rubber rings placed at the end of the mount to secure the microphones in place (see picture for placement). Vertical or Front Address: 17/20 or 36/43/51 These two mounts are designed for use with the vertical address series (V) or for A-B stereo recordings with front address condenser microphones. The smaller of the two mounts has spacings at 17 and 20cm allowing the user to accurately reproduce the following recording techniques: • DIN (20cm @ 90°) • DINa (17cm @ 90°) • ORTF (17cm @ 110°) • OLSON (20cm @ 135°) The larger mount has spacings at 36, 43, and 51cm. It utilizes the principals of the The A-B Stereo Technique, which uses two spaced microphones. The microphone spacing introduces small differences in the time or phase information contained in the audio signals (according to the relative directions of the sound sources). As the human ear can sense time and phase differences in the audio signals and use them for localisation, time and phase differences will act as stereo cues to enable the listener to "capture the space" in the recording, and experience a vivid stereo image of the complete sound-field, including the positioning of each separate sound-source and the spatial boundaries of the room itself. Since the stereo width of a recording is frequency-dependent, the deeper the tonal qualities you wish to reproduce in stereo, the wider your microphone spacing should be. Using a recommended microphone spacing of a quarter of the wavelength of the deepest tone, and taking into account the human ear's reduced ability to localise frequencies below 150Hz, leads to an optimal microphone spacing of between 40 and 60 cm. Smaller microphone spacings are often used close to sound-sources to prevent the sound image of a particular musical instrument from becoming "too wide" and unnatural. Spacings down to 17 to 20 cm are detectable by the human ear, as this distance is equivalent to the distance between the two ears themselves. A user can also use the larger mount with the Vertical Address capsules when recording on stage or from distance. This technique creates a large sound stage and helps to capture the feeling of the room. The large 36/43/51 mount requires the use of one rubber ring per side to secure them in place (see picture for placement).
  9. Tom, I absolutely love the on the fly Midside mixing. Been nothing but happy with my p82. thanks for the support
  10. if you don't pan the channels you would get an identical wave for both the left and right and then in post split the stereo track into two mono. not sure about the metadata questions
  11. I am not a fan of the NP-1 batteries. The BP-160 fits in the transmitter pocket and you could easily put some transmitters in. The battery also has a recessed voltage switch so you can put a piece of gaff tape over it to ensure it won't change voltage. There is also an on/off switch so that your battery doesn't discharge when not in use. Only downside I see is that it weighs 3lbs which is not a big deal for me since I don't carry mine around all day. The way I look at it: IDX NP1 batteries 68wH (136wh for 2) = $217 each x 2 = $434 charger for IDX NP1 battery = $387 Total cost $821 PAG V mount Battery 125wH (4.5lbs) = $817 BP160 153wH battery = $200 http://www.bixnet.com/unpowbat.html for the price it can't be beat
  12. I use my HS-P882 for recording live music and have been nothing but pleased with it. Basically replaced a 744 + Grace Design V3 with the Tascam b/c it has 6 more channels. The preamps sound great and A>D stage is excellent and are light years above the tascam dr-680. Don't use mine in a bag and can see how that might pose a problem for someone carrying it all day, but with a shoulder harness I bet its not that bad. For powering I use a high capacity 160 wH battery that will power it for 8 hours. For $200 this external battery cannot be beat http://www.bixnet.com/unpowbat.html It is external but so much better than the NP-1 battery life. Plus its way cheaper than the np-1 too. It can provide 5, 12, or 19V. Features I like about it - Easily engage 1 or all 8 channels for recording and 48V - Records a stereo mix to channels 9-10 - You can pan and add/lower gain to each channel of mix - You can add limiting and selectable frequency roll off to each channel. - Size, while it is not the size of SD it is still very manageable. - It has an internal 10 x AA sled which gives you back up for over an hour - It has two DC connector inputs. I opted to use the 4pin xlr. - Records to 1 or 2 compact flash cards. 32gb would give you 7.5hrs. So if you want to give your buddy(or a client) a copy of the show you can just hand him off the compact flash. - 25pin dsub connection which allows for 8 digital in/outs - Metering is easy to read with the reference level line which can be set to 9, 14, 16, 18, 20. - You can set the peak hold, how long it holds for, the peak db level, and choose whether or not to use the reference level. - You can enter what kind of voltage battery you are using so that that the meter can accurately read the remaining power. - the switch from AC power to internals or DC power to internals was flawless (I tried disconnecting) - You can lock sections of the face instead of the whole thing at once. Inside the AR-P82. the main compartment holds the HS-P82 and the outside pocket for it holds the 8 channel snake. The AR-P82 comes with an RM-Multi Extreme which is the largest of the rm multi series and has an outside pocket of its own. The RM-Multi main compartment houses the Bixnet BP160 (153 Wh) Battery, Schoeps bodies. I only have two in there now but it could easily hold 4 wrapped in pipe insulation. The outermost pocket holds a plastic container which holds the mics. Schoeps nice and and tidy in a padded lightweight plastic box that fits in the outermost pocket. full access to all the 8 xlr ins and stereo out via xlr on 9-10 you can protect the connections by velcro'ing the sleeve round the 8 channel snake When recording at clubs I usually take 4-6 channels from the soundboard whether it is direct out or subgroups and one stereo pair of microphone on stage. When I am recording from the field I use two stereo pairs of Schoeps as seen below. So I have found the most compact way to run 4 x Schoeps using the Rycote INV-HG MKII shockmount ($62) plus Rycote B2B clips (Part# 048488 $22) for piggy backing the second stereo mount. The MKII shockmount is designed for use with a large shotgun mic so it still keeps its shape even with two stereo mounts in it. For two pairs of front address microphones Notice all the cables are managed neatly in the clamp Someone had voice concerns about running a vertical address mount with another mount above or below it. Well the solution is to slightly stagger them without touching the shockmount
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