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nickreich

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About nickreich

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  • Birthday January 1

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  • Location
    Australia
  • Interested in Sound for Picture
    Yes
  • About
    I do Sound For Picture and Location Recording - primarily for projects involving Theatre, Live Performance or Live Speaking events. Projects range from full-length films of Theatre and Opera shows, through to EPK/TVC shoots, Documentary and Streaming.

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  1. nickreich

    RastOrder Cart: SU-01V

    Hi Rob, nearly all of these 19" width digital consoles nowdays have Touchscreens, so as Chris has done, losing the front half of the shelf above it (or having it removeable) would be a good idea.
  2. nickreich

    Recording music performances on set

    Violin you can get a very decent pickup from a DPA mounted centre-forehead up under the hairline, Theatre-style (if the player has a reasonable amount of hair). Same with Accordion. Plant mics from overhead can often be usefully hidden in indoor sets (behind stage lighting fixtures works well on small 'jazz club' type stage sets). You can get a very useable (mono) drum kit sound from a DPA 4061 stuck to the top vertical face of the metal rim around the beater (drummer) side of the bass drum, which when added to an overhead or two hidden behind a (possibly fake) rafter beam, or if Set Dressing will co-coperate, a practical pendant light or two, will give you a good overall kit balance. Acoustic guitars, if you can arrange for the strap to be dark coloured and preferably with a 'busy' pattern on it, you could run a DPA lav down the inside of the strap on the guitar neck side of the payer to about 6" above where it attaches to the guitar, and back over the shoulder and in the collar to a transmitter pack. Clarinet is hard. Really, Borjam's suggestion of a Music stand (or some similar prop to hide a mic on) is your only viable approach. If they can't / won't give you the time and a bit of set dressing co-operation to do the live record properly, then their best options are either to 'pre-record in place' just before the shoot, with proper mics and stands, then remove them and immediately play back for camera, or alternatively for you to get the best guide recording of the on-camera performance you can and then they'll 'post-record' the music in a studio with the same band playing to that guide for 'finger-sync'. If it's part playback and part live, make really sure your playback system and recorder share the same wordclock. Any drift at all can be much more of a pain to edit around with music than with Dialog.
  3. nickreich

    Performance Capture Audio

    that forehead position is pretty standard for live theatre reinforcement, and if actors are shouting at all, most people go for the DPA 4061 rather than the 4060 as it has a higher max SPL rating by 10dB. I've directly compared the COS-11 and a DPA 4060/4061 in that position and your thoughts are correct re the top end boost of the sanken being problematic unless the performer is a real mumbler, in which case it might be useful.
  4. nickreich

    Auto-Align Post

    This looks useful in certain cases... https://www.pro-tools-expert.com/home-page/2018/8/22/how-to-use-auto-align-post-from-sound-radix-to-get-multiple-mics-on-moving-sources-in-time-and-phase-expert-tutorial
  5. nickreich

    Plug for Reaper

    Hi Jim, If you are thinking of Reaper for Location capture rather than Post, the Timecode thing is still a little odd - I did a post earlier in this thread about the work-arounds, and the situation hasn't changed significantly from that. Chasing incoming TC is reasonably easy, Outputting transport TC not so much.
  6. nickreich

    Sennheiser / Zax Lemo - Line Socket

    Thanks for that, I'll look it up.
  7. Has anyone sourced a Line Socket (to go on a cable rather than a panel) that mates with the Lemo connector used on mics wired for pro-series Sennheiser, Zaxcom, or Lectro SSM transmitters? Even Lemo's online tech support seem confused by which model matches the keyways etc. If you've found one that works, can you please share the model number? I need to make some adapters for mics wired for Senn Lemo, to plug into Lectrosonics PDRs. I can't swap or re-wire the mics. I've seen the Kortwitch solid-body adapters that Gotham sells, they work but the overall length of the plug plus adapter is a problem sticking out the top of the pack, so I'd prefer to make adapters with an inch of cable in between so they can fold back down the side of the TX. Thanks, nick
  8. nickreich

    Alexa Mini audio menu

    There's certainly a thing with old vs new versions of the Audio hardware board within an Arri Amira behaving differently, no matter what the firmware. Various menu items are greyed out on an Amira with the old board. I've never seen it mentioned, but maybe there are some differently-spec'd early-issue Minis out there, perhaps with different Lemo wiring. I DID see something recently on the Arri user forum about the Mini always recording 5 tracks of audio, with only two having program on them, presumed to be a hangover in shared firmware from the Amira, which can record 4 inputs plus 'voice notes' from a Bluetooth headset. I'd never heard of that before.
  9. nickreich

    Alexa Mini audio menu

    yes, that's what I meant - I don't believe there is a function in the Alexa Mini to merge or sum Left and Right inputs. There is no problem with pushing two channels of line level audio into the lemo connector - my usual music video-style workflow has guide audio on one channel and playback timecode on the other. Never had any complaints of crosstalk. Assuming the channels were separate going into the Alexa, I'm wondering if the issue has happened in Post or in transcoding before it got to Editorial?
  10. nickreich

    Alexa Mini audio menu

    I work with Minis quite frequently and I'm not aware of a menu setting that could do this (unless it's been added in. recent firmware update). The audio options in an Alexa Mini are quite basic, to say the least. I'm wondering if they were recording on the in-camera cfast card, or using an external recorder which might be the issue? Otherwise, was it a basic passive A-Box, or one of the little 2-channel active preamp boxes now available for the mini and quite popular with the Documentary folks? They might have track selection / mixing depending on the brand - pretty sure the Beachtek one does.
  11. nickreich

    Plug for Reaper

    wow - an echo from 2015! I do mainly recording of Concerts and Musical Theatre, both for Cast albums and filming for either full cinema 'streaming' or TV commercials and the like, and also a lot of Broadcast OBs for awards shows, where we record the rehearsals for finessing mixing before the live show. Because most live consoles at the larger end use MADI or similar in blocks of 64 channels, once the show tips over the 128 channel point into a third stage rack, they tend to fill the next one pretty quick with alternate mics, backups or whatever.
  12. nickreich

    MixPre 3 & RODE SmartLav+ not compatible really?

    so you have the SC3 adapter to convert the iPhone TRRS connector on the smartlav to a more typical TRS connector? The 3.5mm TRS connector on the side of the Mixpre 3 can be switched to 4 different uses. In the 'Input' menu in either Basic or Advanced mode, you can choose if it's in MIC mode (the one you want - provides plug-in power for the mic), LINE mode (for a stereo line level input) or CAMERA mode, for monitoring back from a camera but not recording it. The fourth use for the 3.5mm input is to get Timecode into the device. This is set in the same menu but only visible in Advanced mode. It's conceivable that setting might stick if you had it set then switched back to Basic mode, where it's not visible. Maybe check that out?
  13. nickreich

    Marry takes on 664

    yes, Video Toolshed BWF Sequencer. Will join non-contiguous takes and fill in the gaps with silence. Bouke wrote it for me to create single files from a half-day's shooting to hand off to Music staff. The timecode is still correct so they can give timecoded notes. It's here: https://www.videotoolshed.com/product/bwfsequencer/ Still in Beta, so it shuts down each time you do a set (demo restriction) but he can unlock it for you if you like it.
  14. nickreich

    Microdot on transmitter

    Sennheiser used these for years last century, on the 2012 transmitter (and possibly others). Using them heavily in Theatre applications, we found them to be quite reliable IF you added a small rubber O-ring around the connector for the male Microdot on the mic cable to tighten up against - otherwise they had a habit of coming loose, generating nasty pops in the audio. DPA (B&K at the time) supplied a little rubber gripper tool so you could get them tighter with your fingers, but we found the O-Ring to be a better solution. The DPA connector adapters from Microdot to other types have the same issue. I wouldn't go back to them on a TX by choice, though.
  15. nickreich

    time code tools, what to buy. (Ambient radio link)

    Hi Alidav, I think some of the systems being suggested above are too complicated for your needs. Basically, most users and manufacturers have moved away from directly transmitting Timecode over a radio link, as it is less reliable than having an accurate generator attached to each camera. You can get radio drop-outs. There are of course two ways timecode can be used on set - continuous timecode, often set to time-of-day, or "Rec Run" timecode, used less often nowdays, but only really for a single camera and a recorder, where the timecode starts and stops with the camera. For Continuous Timecode (or Time of Day) - which is what you'd need if there were two or more cameras anyway - all you really need at the basic level is two TC generator boxes for the camera, and use your Sound Devices 664 as the TC Master. Any of the currently available boxes will work fine - Tentacle Sync, Timecode Systems, Ambient's many products (including the Nano), and several other manufacturers. You simply jam-sync each box to the TC coming out of the 664, and put them on the cameras. Depending on the brand of the TC box, you might want to re-jam at lunchtime, or leave them to run all day. Ambient and Tentacle both have good videos showing this process. The tricky part is knowing how to set every brand of camera to lock to their TC box, and having the correct cables to link the two, but that's the same as using the TC radio link boxes you are used to. Some of the current boxes have a wireless network facility - this is different to the old TC radio links, as the wireless is used to simply jam-sync all the boxes (once or every few seconds, depending on manufacturer) - if the wireless drops out, there is no problem with the TC coming out of the boxes, and if one cameras jumps in a car and goes far away, it still gets TC. With those 'networked' devices, there's an advantage in having one of the boxes attached to your 664 as well, as it removes the need to jam one of the camera boxes to the 664 with a cable (which will then jam all the others over the 'network'). Please note that with the Ambient system, you do not require a 'Master Lockit' - even a Nano can be the 'network master' - the Master Lockit just gives you advanced control and Metadata functions you may not need for Documentary work. In the other, less likely case of using "Rec Run timecode" that starts and stops with the camera - some of the manufacturers still allow for this. Ambient for example, allow all their TC boxes to operate in "TRX mode", which to the user works in the same way as the old TC radio link boxes you have used. TC goes in to one box, and comes out of another one (or many) - and will start and stop as the source does. It is really using the wireless jamming network (they call C-Link) to start and stop the TC generators in each box - so it is still a bit more reliable than the old radio link system (which is why Ambient have discontinued them).
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