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James Louis

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  1. I entirely agree, @Valentine The waist band is too low for the water bottle, and the shoulder buckle is too high. Who wants to plop this down on the subway and have the one thing that clonks on the trodden floor be their drinking bottle?
  2. I'm grateful for your affirmation on the 4018c, @Constantin And your vote of confidence @Johnny Karlsson At first I thought I wanted the 4018B, and then I sensed that the B-preamp is compensating in ways that in actuality I would be happy to take responsibility for on the C-Preamp: evaluating the application, handling and placing the mic. The results from this mic and, yes, it's size--what it can access--are certainly worth my managing these scenarios. I actually found this OSIX mount really nifty. Now I will want a pause to consider where that leaves things.
  3. My apologies for not doing more to answer this for myself; the cinela website is still down, and I'm not sure if anyone has spoken to this question directly: I have the soft OSIX mount for the 4018c. Is the Cosi designed to interchange with these components? Would the Cosi be recommended for the same niche as the rycote softball? The function of the softball as I understand it is to grab the errant line when a boom movement has to be swift, in order to manage a resulting "whoosh." Clearly the job of two booms would better serve this circumstance, however a walk on, or a staging that requires a camera pan or tilt might require an abrupt repositioning of the boom. The softball affords more movement in a hypercartioid by making allowances for the low-frequency susceptibility of this capsule type. Is that how you understand it? Then comes the cosi. It's designed with the fur integrated, which leads me to think it's suited for unavoidable wind. But is it suited for this particular application whereby I could swing it in place quickly in an indoor scene that requires more blocking/choreography? Or would I be better served not looking for a patch but rather getting the "B" preamp for the 4018?
  4. Have a good show, Ben. And in retrospect, so long as you reported your concern up the chain, it still holds true that the answer they instructed, rather than the one where you or I dictate, is still the choice that best protects you.
  5. Makes sense that I should first come across hypafix on this thread as it relates to the B6. I really appreciate what you noticed with porous tape, and its a welcome surprise that the mic maintains an open sound under an application of body tape. And likely I will return to transpore and try the same method, with some caution now that others are reporting stories of skin reactions. It gets points for being very easy to peel and apply. I'm genuinely impressed with its adhesiveness, it's comfort and flexibility, and yes, it's breathability relates to how well it works covering this mic. I bet it would also work well for clothing tape. That said, I don't like how hypafix spools and appears to be sold in wide rolls, the most narrow being 2". It's much like paper, and won't hang off my belt with other kinds of tape. It would come loose and dangle, like gift ribbon, paper Post Office tape, or packaging bubble wrap. And I'm not sure the backing will remain in place if I were to cut and prep cross sections of it and leave these in my bag. The full roll in itself would take up too much space for bag work unless I migrated all my mic dressing techniques to using it. And I think it would get soiled and ruffled outside of its already flimsy box. I'd end up continually cutting off sections to clean it up. It could use an applicator, maybe in the shape of a case for a wind-up mickey mouse wristwatch or swatch?
  6. such a good question. Let us know what you find out, if you're not then too busy! I'm inclined to think they really mean it. This is Netflix, not a cable channel with Must-Carry rules. I'd be more interested in Netflix' content intake/upload criteria. That could help you anticipate your answer or leverage your expert practices (if you see an opportunity or benefit to dictate the terms. typically for liability, most of us would not opt to be the decision maker on this matter, but in this case the decision could make the workflow easier for a lot of people, and your input is worth something.)
  7. Hi Frederick, I don't have access to a Nova. I am using the clips posted on here. So any deviation is a matter of what was provided. I would bring to your attention the underlying hunch that you would hear more pumping. This is not necessarily the case. That's what we're trying to discern. It could be that the release on a gate, for example, is gradual enough that its not grabbing our attention, yes, but it could also mean that the Nova is using noise reduction, ie filtering. Although it is very tricky to subsequently volume match the original, I believe that you can still conclude something by confirming how much of the signal (rather than the noise) is targeted in the processing. Even if the original were louder, I can still claim with a listen that the range of the information in the signal is passed into the processing. Even if I only reached partial polarity, I can still partially evaluate what of the spectrum is differentiated in the test. You can confirm this by measuring the -dB of just the noise bed or putting it back into a spectrogram, and you'll see that my volume leveling isn't too far off, and I did measure from a tenth of a decibel. From what is conveyed in listening to the content, not just the context, there is quite a bit of discernible dialog lost here which I cannot otherwise explain, and I'd be happy to be wrong if it means our Nova users are getting more from their equipment. Still, yes, this would be more controlled experiment if we post the clips in the manner you instructed!
  8. This is the noise output only of the Nova. This was a trickier experiment to conduct. If you would also like your equipment or parameters to be tested as such, confirm that you are processing the entire original file, perhaps by starting recording on playback, rather than rolling independently. Keep your faders at unity and confirm that there is not any global output compensation on the noise reduction. Also, post the unprocessed file along with it and confirm that you haven't changed the length of each file. If the unit has a bounce or export option, that's the best way to confirm that the files will line up. I had to resample the files rather than export the results in this case, which explains the odd reference numbers in the file names. I apologize that each example isn't more immediately clear. That said, this experiment was done with a 3 sample offset from the original, after matching the exact sample by scrubbing the conditioned audio in place (sample offset corresponds to longer processing time on the Nova as well as where there is the most complete polarity in order to conduct this experiment.). Then the files were gain matched, which is in itself an oxymoron, as there is an attempt in the algorithm to reduce the noise output by the corresponding amount of attenuation. You can confirm that the noise reduction is working against the original file on your meters in the sections of the recording where the Nova is listening only to the ambient noise. That said, the Nova still appears to be attenuating the entire file considerably more than the Cedar in the output of this experiment, however I wanted to focus on only the information that was either retained or lost. If you are hearing something in this file, that's what you've lost. If I had not gain matched the files, it would further highlight the volume drop of the treated version. In this case, you will hear that much more signal is lost on the Nova than with the Cedar. This is a good illustration of the trade-offs between nuanced algorithmic noise reduction and noise gating. 500981753_noiseoutputonlyNovaNR-3.aif 1762583870_noiseoutputonlyNovaNR-6.aif 1011908702_noiseoutputonlyNovaNR-9.aif 1880584940_noiseoutputonlyNovaNR-20.aif
  9. Demo'd my buddy's B6's this weekend, and like many on here, I was contented and pleasantly surprised with the clarity. Using A10 transmitters is going to do that, I think, and I'd love to hear an array of mics through an end-to-end digital network... That said, the handling noise is well-beyond what I'm accustomed to. And I'm also so very thankful for the treatment advice on these boards. As a thank you, I got my buddy the bumblebee cable savers. With a name like that you can imagine they're great for a) load/tension release. A slack loop. What's the term I'm looking for? These will save you that moment where you prep a loop if you're in a hurry. b) they decouple the handling noise downstream of the cable saver, which in the case of the B6 is crucial. Unless you plant them all day. https://www.bubblebeeindustries.com/collections/lav-mic-wind-protection/products/the-cable-saver
  10. Thanks for the tent idea and addressing the compactness, Jim. Nonetheless, I have the undercovers in the bag, because I don't like to be left from the party, but truly I'm whittling them down til they're gone. I think the size of them is more dysfunctional even than the fabric. But if the clothes and occasion for them are low stakes, I will pop them on and take what I get. (then I don't have to buy them again) I will try the BB piece of fur, and I did not have further success with the Invisible Lav Covers https://www.bubblebeeindustries.com/collections/lav-covers-tape-and-fur/products/bubblebee-industries-the-invisible-lav-cover I think they pose a challenge whether you assemble them along the weave or the bias (and who the heck but me is going to take a moment to distinguish between the two?) and the box is flimsy. I love the demonstration video, and my execution never looked as picture perfect, plus the side-loading technique just doesn't seem as intentionally designed.
  11. I'm looking forward to reading the other replies, however the beliefs around showing the mic, not the choice itself, could be dictating how the interview is going to go. Bottom line for me, is the talent inspired? "Hate" really has no place on the set for me. In other words, did we create an environment where the most genuine content is going to emerge? If we can't use the lav recordings because of clothing rustle, then I've limited the creativity of the editor. If I've handled a non-actor in a way that they are unaccustomed (like reaching up their pullover or blouse), then will they remain candid and comfortable? This business of an interview being tarnished by a visible lav has more to do with how the lav is treated, not yours or my belief around it. We've all seen odd placement of a lav that draws our attention as an audience. Still, HATE is a big word. You see how the belief might be what's really getting in the way? That there are cavalier ways in which people clip mics is hardly a reason to dismiss over-the-clothes as a decision or technique when you are going out with a professional broadcast crew member or location audio person. Am I suspending my disbelief that this person is being interviewed or talking in an interview? Just because there's stage dressing or the camera person has a craft does not automatically make it verité. David, yes, I entirely agree. Some stations get accustomed to being more aggressive with inching the placement up, but for me it's still a cultural thing when I'm on a particular channel or show, and certainly, yes, as a consequence the signal is more loaded when people insist on those closer spots (I've had other technicians then come in and "fix" my placement. "When in Rome..." as they say.) Also, I've then limited the framing for the camera person.
  12. Phillip, I'm also on the Sonotrim caboose. I'm either DPA all-in, or sonotrim, depending on the transmitters and channel count that day. I'd say they leap-frog over the tone and performances of everything else in the pack, IMHO (although there are new contenders, wired vs wireless, and now digital transmitters which can offer a more genuine image to compare) I demo'd this weekend what I guess are the B6's, and I've been planting them and only dressing them as a last resort. Still, one returned broken before we rolled, while I scratched my head. I surmised the full story when I noticed the area was still wet and the mic was moved. Someone poured water on them while I was in hair and make-up, someone else, not seeing the mic, wiped the area down and jammed it in between appliances and grit, the next person stepped and kicked on it while trying to help. Who's insurance does that typically fall under? If you consider it an expendable, then do I replace these at my own cost, make my own claim, or like media, do you itemize this in your invoice?
  13. Thanks Frederick, I'm very grateful that you've submitted these. I've uploaded the difference in the conditioned recording and the original signal from the Ceder files. I would prefer that you, Constantin, NOT comment nor state your opinion on this test, as you have already publicly and unsolicitedly expressed "I am not interested in this particular test". And to be clear, I am not seeking an indication of your interests nor opinion on the matter. You are entirely relieved of the job that compels you to comment here. And I would prefer that this contribution remain constructive, uphold the author's topic, and serve only those participants in our community who are interested in the results. I don't have noise assist for the mixpre, and I am evaluating whether to make the purchase. I hope other members will take on your request and translate the test to the Sound Devices units. These files were saved without dither, as they were not converted from the original 24bit, 48K files. An offset of either .02ms or 1 sample placed on the original file resulted in the most complete polarity at this level of precision. Voice_recording_with_Ceder_DNS2_3dB_NoiseOnly.wav Voice_recording_with_Ceder_DNS2_20dB_NoiseOnly.wav Voice_recording_with_Ceder_DNS2_9dB_NoiseOnly.wav Voice_recording_with_Ceder_DNS2_6dB_NoiseOnly.wav
  14. I already have a unit. Just not the plug in. For your sake, Al, I'll ask Sound Devices or Gotham Sound if I can take one out or rent one long enough to run the test. I'd rent one for shits and giggles if I thought they installed the plug-in on their mixpre 3's, but I doubt it. The show rooms are not open without appointment, and it's really pickup/drop off. And I don't even know if NAB is in-person this year. Does that answer your question as to why I haven't considered demo'ing one? Am I missing something that you can further illuminate? If you have one with noise assist, would you consider doing the test? I believe the test could all be recorded in the box. It's a matter of: *finding a continuous, pervasive pink or white background noise *finding something to read or say, maybe with a dialog in two registers of the voice *linking two tracks to monitor a single input *inverting phase on the second track * confirm that you're getting a negative infinity reading, or null line on the 0-axis if you take a 1st recording into an editor *engaging noise-assist on the first track *delay compensating the second, non-noise assist track by 1ms *Pressing record *Posting results Then we can figure out how active the gate is, how gradual is the knee, how much pitch gurgling is introduced in the de-noise algorithm, how much smoothing or brightening is reintroduced, how much signal is lost or pruned in the consonants and other articulations. It's rather difficult to objectively discern the integrity of the algorithm without it (psychoaccoustically, our biases and attention going to listen for and interpolate the message, the information conveyed, and attempt to ignore the noise, which arguably is always sign that a recording is good enough). And the wave files on SoundDevices.com are not an A/B.
  15. Could anyone with noise assist post a null test? I'd have a lot to discern from hearing it, which we could then discuss. And I'd really appreciate that. Maybe while filling the tub, or beside a wet expressway, or a river after a rain, or under a tree in a continual wind. It doesn't have to be HVAC, or air ducts, or a refrigerator condenser...
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