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Patrick Farrell

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About Patrick Farrell

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    I just want to be a boom operator.

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  1. I've never tried this but it looks like the Grace takes midi in so theoretically you could get a hardware LTC to MTC converter (the Rosendahl MIF4 comes to mind) and send your 788t TC into the converter, then on to the Grace and then pray the Auria app is able to detect that MTC signal.
  2. This will do it https://www.sounddevices.com/product/wave-agent/
  3. On your boom op's M2R, leave the balance centered and in the mixer menu select mono Ch 1.
  4. If you want to call copper wire analog circuitry then sure, there necessarily has to be some. But copper wire doesn't care what voltage it is carrying (within our normal operating range of mic or line) and thus won't introduce distortion. I haven't seen schematics so I don't know for sure but I asked specifically and he said the mic signal goes straight into the converters. Also if feeding it line level, he said the mic/line switch shifts the input range of the converters.
  5. From talking in person with Sam from Zoom.
  6. While this is all true for traditionally designed recorders, it doesn't really apply to the F6. There are no preamps or analog circuitry before the converters which would saturate into nonlinearity. The mic signal directly feeds the converters.
  7. Listen to Larry, as always. I also want to point out you'll need to make sure the SM transmitter has newer firmware which allows 25kHz tuning steps in order to dial into those exact freqs.
  8. The TL47 (as well as the thin cabled TL45) sound really nice, pretty open and natural like DPA. Also have changeable caps to adjust freq response similar to DPA. I did not care for the TL48 very much.
  9. Phantom power is cleverly designed to be safely transported along the audio signal path. (Although it wouldn't be the brightest idea to carry phantom power through that mini Lemo.) But if 12v power accidentally shorts to one of the other pins, bad things WILL happen.
  10. Sounds useful to power something like a Mini Papi if you're running a camera mic on board. But if it's only 6 pins, that means audio and power are sharing a ground which makes me uneasy. If it's the mini Lemo size like currently used on the Alexa Mini, that makes me doubly uneasy having 12 volts that close to audio pins.
  11. What? No. Why would you even say that? The whole Arri/Zax problem is pretty simple. Zaxcom timecode is within SMPTE specs and can feed an Arri camera fine and provide adequate sync. However, firmware dependent, the camera will display an error message. This is because the camera also has a feature which allows you to tune the camera's internal clock to the incoming TC stream, similar to how genlock works. (Remember sync boxes that had TC and genlock?) This requires a much more stable clock than that specified by SMPTE. Since there is jitter in Zaxcom's TC, it is not stable enough for the camera to tune it's clock to. This is what produces the error message, ableit Arri worded the alert incorrectly.
  12. There's a similar system by Barix that is currently being used to feed music cues to hundreds of backgrounds on a certain production. Maybe not ideal for a typical IFB setup but there are uses.
  13. The Crimsons are excellent for mic level. I've fed line level through them but depending on how hot it is, you might start to saturate the transformers. The Whirlwind Multisplit 1x2 handles line level no problem. It's passive and does four channels in 1RU. For an active split, I've used the Symetrix 581E with good results. Also four channels in 1RU.
  14. I believe Gio Lima is still the sup on CCC. Here's a video we did with him discussing some of his techniques.
  15. I think he wants to jam, not continuously feed. The TC input depends on what module is installed on the camera. The most common you'll encounter is the "base expander" which uses the miniature 4pin Lemo for timecode.
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