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lazajamsonic

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Everything posted by lazajamsonic

  1. Thanks Paul, yes I could have been clearer in my request above - I will elaborate! This link shows the specific style I am after... (except not an AC cord, obviously). An enclosed retractable reel, but with a plain centre section where I can install two 'surface mount' BNC connections. Where does one buy such a thing? https://www.amazon.ca/Woods-2801-Power-Extension-25-Foot/dp/B000GAS3A8?ref_=Oct_s9_apbd_omwf_hd_bw_bAbXRAR&pf_rd_r=1MM3D6YBA3JAPB8TWBV8&pf_rd_p=c424f636-186f-52e9-a942-15f2f915a80f&pf_rd_s=merchandised-search-10&pf_rd_t=BROWSE&pf_rd_i=9716022011
  2. Curious if anyone can recommend a good source for a coax cable wind up ‘reel’, hand crank style. Have searched all over and haven’t found a winner yet. Worked with a mixer who has had a couple of these, 2-pair loomed coax reels at 75’~ length, from Silent Sound in Toronto. They are too busy to build one for me lately so I want to try and get it built elsewhere/ DIY! This thread is super helpful to decide what cable to use, thanks @Johnny Karlssonfor that link!
  3. Thank you @jbuerjesfor posting this, will be running a PDR through its paces in cold weather for an upcoming shoot and these runtimes are super helpful.
  4. @Sound Grab 's recommendation is spot on, the Neutrik TOP connector looks like your best bet for quality. https://www.neutrik.com/en/neutrik/products/xlr-connectors/xlr-chassis-connectors/top-series What is your mic setup like for the field recordings?? You might consider getting a 5-pin XLR cable out of your mic setup, to reduce the number of connectors you have to handle and build into your waterproof recorder box.
  5. Spent 2 days in the Dakota Tavern for a web series, a fixture in Toronto’s music scene.
  6. Love reading this admiration for the 7 series!! I totally agree, it is well deserved because they do sound that good! My 442 + 744t that I enjoyed working with for years has been sitting on the shelf mostly since I started working with my 688 as my main bag. Occasionally, i’ll find opportunities to bring the 744t out as a smaller (somewhat lighter) rig to travel with. But more frequently over the past couple years, when it’s a win-win, I find I’m trading my 688 out for a 633 with friends who need the firepower for their jobs. As far as tips and tricks with a 744t, maybe kind of an obvious one but - the only thing I’d like to mention is that the unit can function decently on its own without the 442 in front of it, **if, say on a one man band over the shoulder job without crazy dynamic/ more critical adjustments** because you can ride the input trim of inputs 3&4 via the ‘digital gain’ within the menu. The 302 + 744T mixer was also a very popular combination to keep the weight down, for the ability to mix down wireless to tracks 2-4.
  7. Thanks for sharing your notes on this issue, all. Agreed, it is a shame DPA don't have a presence here. We are certainly fortunate to have active members like Larry and Philippe, though. I have contacted DPA about the same problem with noise when used with my Lectrosonics HMa at ph48v setting, but I have been reluctant to send my C pre amp to Denmark as it seems this RF noise is STILL an issue even with new units out of the factory.. and there may be less costly workarounds that will allow me to keep the mic in action here, instead of shipping it out for service. Definitely encouraging to try it out at 15v supplied by the HMa, it's almost clean.. I would be very interested to hear about your results with the triple choke filter in the XLRF, Phillippe and Constantin. Maybe I could replicate your filter.. or I'd happily offer to test one of yours out too!
  8. Thanks jawharp Joe, and Richard for sharing your antenna mast planning and setups. A nylon flex tubing snake of loomed antenna cables looks like a very clean and elegant solution, in lieu of the elusive internally cabled antenna mast...
  9. Badass design, Mr. Hope! So interesting how our vehicles of choice can be key determinants in cart design, as well as the kind of terrain you're in, in terms of how we intend to transport our gear for the majority of the work.
  10. Rado, curious if you ever posted pictures of your internally cabled antenna mast anywhere? I'm searching around the forum for inspiration, looking to do a similar build to yours, I think. I have a spare K-tek Aluminum boom pole and will be getting a K-tek KAMT mast bar for 2x LPDA's or dipoles, plus a Comtek Mini Mite 1/2 wave antenna to the cold shoe mount. Plan to attach this to my PSC EuroCart, maybe with an Ambient Quick release at the top to pop the KAMT mast on and off for easy transport with my station wagon. How are you finding the cable management at the bottom of the pole with those 3 runs of 50ohm inside the mast?
  11. Studio Ekonomik are a very helpful rental shop in Montreal. Free ground shipping for orders/rentals over $200cad. http://www.economik.com/ I'm operating Lectro wideband A, blocks 22 + 23 and typically haven't found those blocks too congested to work in, between Toronto and my limited time around Montreal.
  12. Working on a music video playback setup where I have printed 5minutes of LTC audio from http://elteesee.pehrhovey.net/ in Pro Tools to the Right channel, married it with a mono version of the song on the Left channel. The LTC file downloaded is very hot, peaking at around -6dBfs, I left both that file and the song’s clip gains untouched, bounced them out together (with 2 pop + 2 bar count-in). Loaded the outputs into my 688 (not ideal for playback as it doesn’t like metadata of files it hasn’t created itself - so no Wave Agent allowed *grumbles*), routed the R channel LTC output to hit only my Comtek BST-75-216 transmitter (at full Tx power), adjusted input gain to land a little over unity on its meter, and had very mixed results with my Denecke TS-C reading the LTC from the Comtek PR-216 receiver (via 1/8” to 1/4” cable). Tried just about every combination of gain staging possible, and the most stable results with the slate seemed to be with the receiver at its max output volume. Ultimately, the solution I am going with is to cable the LTC into the slate because it’s stable.. but I wonder, if this thread may be revived yet again, what could I do between the Pro Tools environment to the music video set to make audio LTC over wireless more stable? (with either Comtek or Sennheisser G3). I figure it has everything to do with the gain staging and, as mentioned earlier, the square wave being rounded off in transmission.
  13. iPhone 6 user for 4-5 years, been dealing with an iOS update that has severely crippled my GPS performance. Currently at V12.2. Waze says no gps... Google Maps seems to function almost as normal, but acts very sketchy - resets my position/route often. Have tried many recommended GPS reset techniques but no real reliable improvement. Perhaps related to /the root of the problem, I have noticed apps and safari pages reloading more and more often, like the cache/memory is too taxed. Maybe it’s thanks in part to all the hours I’ve left the phone on with Wingman open while recording! Battery health is shot to shit so now I gotta weigh out buying just a new battery orrr a whole new phone.
  14. Can't speak to the wideband filtering, but that's a really good point, I'm interested to hear if anyone else has experience with block 941 too. Coming up on 2 years of experience with my 688 + SL-6 combo, and I haven't had any issues with overloading input limiters from SL-6 sources. I typically leave my Lectro SRC + 2x SRB's output level at -6, which, with the SR's built in tone generator on, I line that up to 0 on the input level meters with 1-6 input trims at -12db (9-10 o'clock), about the same for inputs 7-12 hovering between -12/-11 db. This has been the gain staging that works for me, but would totally welcome any other 688 + SL-6 users thoughts on gain staging. It's worth mentioning, of course, that your average input source material levels > transmitter gains will vary from job to job, dramatic dialogue swings scene to scene, but this is my nominal starting point on the receiving end. Just as reference on overloading inputs, last summer I traded my 688 out for a few months with a friend's 633 to do a run and gun show edu-tainment series, and early on, I got caught a couple times peaking out the inputs 4-6 line level limiters with similar gain staging. I think I bumped the SR out levels down to -10 to adjust for this and that worked better, might have pulled my TX gains down a bit on average, as needed. *edit* 633 user friend recommends SR output levels up at +5, with 633 inputs set to line level.
  15. Naga, thanks for sharing this glimmer of hope. Unfortunate to see so many mixers having this issue with the MMP-C! I have been working around my MMP-C preamp's 20db~ of steady low end noise in my signal when paired with a Lectro HMa. The phantom power voltage issue seems the most likely source - though it is interesting to hear yours and Ben's noise was a higher pitch 'dusty vinyl' noise in the signal.. wonder why the difference? This other thread was recommended to me by Gavin Marsh, in which wiring in an 'RF choke' on the header cable between Lectro boom transmitter and the mic has shown some promise to reduce the noise. May be useful, if you haven't explored this yet. I intended to try this before exchanging my C pre-amp with my DPA dealer (for the 2nd time)... Will post an update here if/when I get around to trying it.
  16. Thanks for this reply @Nate C, way back in June.. I ended up buying a couple of these and totally echo the sentiments you shared. +1 for tacking down the middle opening, surprised Rycote didn’t build them closed all the way around. Interesting to see see how people are packing their 4098’s. I keep mine in the two DPA pencil cases the kits came with, lid mounted with some Velcro to the inside of my boom mic Pelican briefcase, so they don’t really need hard cases of their own. Complete with Rycote mini jammers, microdot to TA5 adapters, microdot to XLR adapters, and microdot extension cables.
  17. Nate C, curious about these Rycote mini Fluffies, can you elaborate on those? I will have a look around for more ideas to improve wind protection on the 4098’s, recently had some car rig scenarios with an open window and a crossbreeze was beating up the stock foamies.
  18. Have heard a couple different opinions recently on cable reels, namely which direction they are terminated.. It makes some sense to me as a boom op to have an XLR reel wired with the male end at the end of the cable, feeding into the mixer, and un-wind it out with all the slack moving out onto the floor with the boom op to patch into the female built onto the reel housing (because video village/mixer shouldn't move as much). The other thinking is to wire reels with the female connector at the end of the cable, male side on the reel housing which would park at the mixer, and the boom op has the freedom to just take enough slack out on the floor to do their thing, maybe ask mixer to spool out more cable for them over comms.
  19. Have been hunting around for more threads on RFI in DPA 4017/18 MMP-B + MMP-C pre-amp.. haven't found much here. A fellow mixer and I just purchased a couple of 4018 capsules with MMP-C pre amps and the pre amps seem to be inducing a kind of steady, airy, fan like RFI when used with a lectro HMa. Works fine when wired directly, tested with a third 4018 w MMP-C pre amp of an older vintage, which seems to work fine with an HMA. Wonder if the pin disconnection idea is the solution? Any one else having trouble with MMP-C over wireless?
  20. A lot of happy SD users today! Definitely makes the 633 ever more the attractive unit.. Cool that the SL-6 speaks to the Sennheiser SuperSlot wireless receivers now too.
  21. I've owned a 744t since 2012 which I have been very happy with as my first recorder. My thanks also, to Sound Devices! Just getting into upgrade territory and weighing out a 788t or 688.. or waiting out the mysterious rumoured 7 series new addition? Has this been officially quashed?
  22. Toronto based sound op available with 5+ years of freelance film, live events, and some post work under my belt. Permit with NABET local 700, daily with IATSE local 873. Super Bowls, provincial and federal election campaigns, indie shorts and feature narratives, documentaries, web series, episodic TV, reality TV, corporate/commercial. Looking for new people to collaborate with! http://www.imdb.com/name/nm3631020/?ref_=rvi_nm James_Lazarenko_Resume_2016.pdf
  23. Hey JW'ers. I randomly started having an issue with a periodic digitally distorted, 'bargled' output from my old Mbox 2 USB interface and my Mac Pro desktop cpu, running Mac OSX 10.8.5. No idea where this is coming from, as I've been running this same setup, relatively unchanged for a couple years now. I have a temporary fix, going through Utilities > Audio MIDI Setup and toggling the Digidesign Mbox 2 tab Clock Source from Internal to S/PDIF and back. But it keeps happening, and I'm mystified as to why this issue would just start up like this. Any ideas for a steady fix? I figure a full OS update would probably solve it.. but I just wanted to see if anyone could point me to a root cause. Thanks,
  24. Here are a few pics of a little addition I recently made to my mix bag (Petrol PEGZ-1F) workflow that I wanted to share with all of you. Found this Logitech Keys-To-Go Bluetooth keyboard (http://support.logitech.com/en_ca/product/keys-to-go-ipad) at Best Buy, which has been handy for punching notes into the Sound Report Writer app on my iPhone between takes. The interfacing with iOS isn't perfect for navigating through the app's text fields (I'm hoping to find a way to map out custom key commands to tab around more easily between fields, OR fingers crossed.. this will improve with an app update from Tyler at Inaudible Labs *pokes*) but after some field testing, it's definitely been a more ergonomic and enjoyable option for text entry in more controlled environments, and obviously only feasible when working with a dedicated boom op. I found these random lightweight aluminum rods in my granny's basement, which were originally about a foot long and straight across, with those S-bends mirrored on either end. So I hack-sawed the S-bends off one end of each rod, filed down the rough edges, heated the middle of the rods with my camping stove, and applied some careful pressure to make the 90 degree bends pictured here. I tried super gluing on some velcro to both the rods and the keyboard, but it didn't take too well. The keyboard material has a soft rubber, pleather'y feel. Will be trying again with a different bond soon. The rods easily pop into the velcro seam at the back of the bag for seated/stationary use, or they work fine in the velcro seam up front for when I have the bag harnessed up and walking around. Only minor issue with that is the keyboard gets in the way of the front pocket contents, where I usually stash my lav mounting accessories/tapes etc, but the keyboard pops off the brackets and onto the mixer/recorder no problem for pocket access.
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