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rofin

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Everything posted by rofin

  1. This ruling only applies to the US. Apple's claims were rejected here in the UK.
  2. rofin

    Zaxcom- MAXX

    Thanks Glenn, I do appreciate the offer and I'm happy that you appear to have accepted that my nosiness is nothing more than just that. I will respect your preference not to go into specifics on a public forum at this stage, and if I may, I would love to discuss it further with you at the IBC in September. (You are going??) Rob
  3. rofin

    Zaxcom- MAXX

    Maybe! See my posts #204 and #207 where I asked Glenn to clarify things, and basically got no reply. I also texted to the live web stream yesterday asking what the input noise and max level inputs were and was inexplicably told that it was irrelevant !! The reason I ask these is that THESE ARE WHAT DETERMINE INPUT DYNAMIC RANGE!! If you simply want a higher clip point then put an attenuator in front of your mic amp. It won't alter the dynamic range of the input but it will raise the clip point. It is all very confusing what with 'not needing trims' but having AutoTrim which isn't automatic (you have to turn two knobs), and limiters which are 'distorting' but the Nomad has input limiters, output limiters and card limiters and NeverClip which will still clip the later stages if you don't turn the fader down ?? Maybe get a response this time? To reiterate .. What is the maximum mic level input? What is the Ein for the input stage at the same gain as this max input level refers to? These are very basic questions and Zaxcom must know the answers to state an input dynamic range of 137dB.
  4. Steady on. We're British! Shoes off in public?. Whatever next?
  5. Splitting hairs a bit but ... If the TC 1Vp-p was a nice clean square wave then that would equate to about -4dBu. If it were rounded to a sine wave by cable losses or other high freq. limitations such as audio inputs etc. then it would equate to about -7dBu. So I guess about -5, -6dBu or so! Rob
  6. rofin

    Zaxcom- MAXX

    Fair enough, but I would say that the 'many previous explanations' are anything but. Hence the question. What about the analogue input range? Surely that isn't a secret! What are the Eins and what is the max input level? regards Rob
  7. rofin

    Zaxcom- MAXX

    Hi Glenn, firstlly, congratulations on the Maxx and indeed the Nomads. Not the way we'd have done them, but very nice none the less Anyway, I'm one of the many that are confused by the NeverClip operation and dynamic range claims. Please understand that my questions are in no way meant to be confrontational, they are borne out of genuine interest. So ... "noise floors lower than any microphone you can connect so they will be transparent" I believe that for example the Rode NT1a is about -118dBu (A-weighted) and your noise floor to be transparent would need to be a few dB below that, say at -125dBu which is totally reasonable to expect but difficult to achieve at low stage gains, which you need to preserve dynamic range. For the quoted 137dB dynamic range, the analogue input would have to be able to accept up to +12dBu (-125 to +12) without gain changing. Is this the case? To completely clarify the situation could you state what the equivalent input noise (Ein) is at various gains, say 0, 20, 40dB etc., and what the maximum input level is?. As for the NeverClip. If this is just a variation on the standard technique whereby a normal and an attenuated copy of a signal are sent to different ADCs which are switched between (synchronously) when a particular threshold is reached, then this is not dynamic range extension. It merely shifts the existing range either up or down. For example were the attenuated version being sampled, this could not represent a large amplitude signal with a previously already (preattenuated) low level signal ripple (on top) as this would now be below the noise floor. But, as yours is Pat. Pend. I guess it is something more clever and I would love for you to divulge what you can. regards Rob
  8. There's likely a reference oscillator of at least a few MHz in the unit. Could be a harmonic of that. Rob
  9. If you're doing an XLR and BNC to 1/8" mini then you can take a twin and screen (single cable) from the mini into the XLR and loop out to the BNC on whatever cable fits best (a curly perhaps to allow for different audio / TC input locations). Rob
  10. rofin

    788t Limiters

    Computation time and memory constraints I guess.
  11. The manual http://ws.sel.sony.com/PIPWebServices/RetrievePublicAsset/StepID/SEL-asset-168289/original/PDW-F800_700_Operation_Manual_E.pdf pages 75-77 seem quite specific that a video reference to Genlock in as well as the TC source itself are required to lock to an external TC. Also that if the genlock doesn't match the camera frequency or the ext. TC is not synced for approx. 10 seconds then the internal timecode will not synchronise properly.
  12. SQN used to do one ... "Been everywhere, Heard everything". Rob
  13. From the KM100 manual http://www.neumann.com/download.php?download=copi0146_KM100_10-2011_074937-A06.pdf ... "With microphones of the *fet 100* Series, pin 3 is the hot phase, and pin 2 must be connected to earth (see Fig.1). This means that the phase relationship on unbalanced operation is reversed by 180 in comparison with other studio microphones. When mixing, phase reversal has to be taken into account." If you look at the schematic of the KM100 output you will see that the pin 2 signal is shorted to the screen via a 47uF capacitor. That's what I meant earlier when I said that it was unbalanced audio wise. It remains balanced DC (phantom) wise. Rob
  14. Yep. Basically, on the Denecke XLR to wireless, swap everything on pin 2 to pin 3 and vice versa. Be aware that if you're mixing this mic's signal with another that there may be phasing issues. If so, flip the phase invert at the mixer/recorder's input. Also, might be worth labelling this cable as a 'pin 3 hot'. rob
  15. I'm pretty sure that the KM100 amp output is unbalanced audio wise and that the 'hot' is pin 3 rather than the usual pin 2. So if you're going into an unbalanced input, the signal will be shorted if the usual pin 2 to ground adapter is used. Swap the Denecke to wireless adapter xlr pins 2 & 3 and see what you get. A balanced input to your mixer will of course work either way round. Rob
  16. Good point! The OP's mic in this case is a self powered (9V batt.) unit, but yeah, keep the phantom power off.
  17. Indeed, line 2 is just line level in. Uni is the built in mics. I think an xlr to mini jack adapter is in order. (mic/line 1) rob
  18. Thanks for that Michael. Its still not crystal, but it looks as though Zaxcom are using the term headroom correctly in that it is the difference between nominal level -10dBFS and as stated, their max +20dB over 0dBFS i.e. 30dB. Unfortunately, dBFS is a dimensionless figure. What I'd like to know is what is the maximum input signal level, in dBV for example, and what is the noise floor?. That would give a definitive input range. e.g. SQN input noise -130dBu (A-weighted 200R), max. mic. level input +4dBu = 134dB range (135 for 150R) perhaps Glenn could explain if he's looking in. Thanks again, Rob p.s. I should say that I work for SQN, as it says in my profile, and this is in no way an attempt at anything underhand. I am genuinely interested in what may be a breakthrough in dynamic range extension with limited supply voltages, and as its pat pending, they're covered anyway
  19. Sorry to pick up on this but it is confusing. Are you saying that the Nomad has a range from its input noise floor to its max input level (irrespective of what happens in later stages) of 165dB, or is it 135dB? Rob
  20. 135dB of headroom or dynamic range? If headroom, what for? If dynamic range, an SQN mixer already has that range at its input. Rob
  21. More amateur radio than for our line of work. Not interested in preserving a specific output impedance, generally the lower the better. T and H pads add a 'thermally noisy' series resistance in the output. L and PI pads are better. The "600 ohms for modern rigs" is always a chuckle.
  22. Phase invert on the Side channel of an MS pair is also useful to correct the resultant left / right inversion when switching from micing from above to below. Or for when you've just put it on the boom upside down
  23. If you do end up getting your friend to wire something up, a cheap and cheerful starting point could be 4 x Energizer A23 12V cells in series, stuffed in a bit of plumbing tube, box or whatever. The cells seem to range in price from a dollar to 3 or 4 each and should run the mic for a few hours at least anyway. http://data.energizer.com/PDFs/a23.pdf Rob
  24. I don't know if you're still up for this Matt, but ... Place a couple of diodes (glass passivated for low leakage preferred) back to back across pins 2 and 3 of an XLR-3M. Anode of one to pin 2 Anode of the other to pin 3. Join the Cathodes together. This will keep the whole thing balanced and any noise (unlikely) will remain common mode and hopefully knocked out by the mixer input stage. From the Cathodes feed via resistor to a 12V low power DPCO relay coil and the other end of the coil to pin 1 of the XLR. A bit difficult to know the resistor value 'cause it depends on mic. load and relay coil load but somewhere around 1K is likely. Suck it and see with a trimpot perhaps. Connect pin 2 of the XLR to one of the relay commons and pin 3 to the other. Connect your condenser mic to the normally open N/O contacts of the relay and your Line to the normally closed N/C. Rob
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