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About nickreich

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  • Birthday January 1

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  • Interested in Sound for Picture
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    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. for Comedy Club or smaller (ie sub 2000 seater) Theatre venues, I prefer Hypercardioids to Shotguns for audience mics - they 'spotlight' particular audience members less, and it is a bit easier to visually aim the rear-side null to reduce PA spill a bit vs. a 416 or similar with it's stronger rear lobe. IMO there is nothing to be gained by going for a Dynamic over a Condenser mic in this application - when you gain and EQ a Dynamic to get the same sound from the Audience, it'll get the same PA spill as a Condenser if it has the same pattern. The theory that Dynamics 'drop off' more with distance is a bit of a myth. They are typically 'slower' in transient response, which can make percussive applause less jarring, so if you have to be real close with many audience mics, that might be useful.
  2. nickreich


    it's the Cash-More preamp!
  3. only thing that could do that is if your "2 Track Monitor" button is on (switches your monitor source to be the "2-Track" RCA tape returns) - or maybe one of your PFL switches is stuck on. They are very basic mixers with no hidden settings.
  4. Hi Stef, If you have a copy of the recovered files (NOT on the original drive) it would be worth trying Audio Rescue by Take Vos from Vosgames (the writer of Boom Recorder). I and others have had good luck with this on files that look the right size but only partially play out. http://www.vosgames.nl/downloads/ It's free - worth a try.
  5. nickreich


    well, to be serious, with all the Ambisonic stuff going on nowadays, a QPDR (4ch) would be a success, I think.
  6. Bouke wrote: @nick, you can also walk around with your master TC device, insert that and record a few seconds or so on the cheap device, switch back to mics and then have my LTCreader to 'work on wave', and let it rip away. It can do the same thing, reading the LTC and setting the guessed values on all other files from that folder. I thought of that, but unfortunately the Zoom H3-VRs don't have an external input - only the onboard ambisonic mic array. I actually tried feeding TC into a small speaker and holding it close to the mics, but neither your LTC Reader (demo) nor the Tentacle software could decode it.
  7. Hi Bouke, This is quite timely for me as I have a show going out in 3 months that'll be deploying a large quantity of Zoom H3-VR ambisonics recorders (among other things). These do actually write timestamped BWAVs, though the timestamping is from their domestic-quality RTC so not really production / post friendly. Plan A is to pair each one with a Timecode Systems Blue, which Zoom is allegedly going to support in a 'future firmware update' that may or may not happen in time. I'm guessing with your new app, we could go around each recorder with a TC Slate (or even better, Movieslate app, that can create a clap time log) and give each Zoom a clap shortly after pressing record on each one, then the data wranglers can go in after upload with your app, find the clap, and enter the matching real production TOD TC from that log? That sounds as accurate and labour-efficient as any other plan I have. It may actually be more robust than the TCS Blue idea. I'm guessing it will work fine with 4-channel Poly BWFs as input? Now to your questions... - Sound report: not a big deal for me, as I'd be handling that along with the other recorders another way. Ability to add Metadata (specifically track names that would show up in Pro Tools as channel names) might be useful. In the case of the H3-VR, it will split files when they exceed 4GB, supposedly without dropping samples, so it might be useful to be able to tell the App to stamp consecutive files with the next TC frame from the calculated end of the last file rather than the next full second when you know this is the case. - We'd be using Hedge to upload, which deals with maintaining timestamps, but for all these cards, if your App had a built-in uploader that would be more efficient. What I'd not want is for the app to be modifying the original file on the micro-SD card in any way, we'd always be running it on an uploaded copy to make the delivery file. - Timecode drift will of course happen due to slight differences in the clock rate between the recorders and cameras, and is usually a steady drift unless the cheap device is experiencing large temperature variations. The only way to compensate for this is to run a non-pitch-shifting time compression/expansion DSP process. You would of course need access to the 'reference' clock or file to know the amount of correction to apply. There is now a quite effective DAW plug-in for this (Auto Align Post) assuming you have matching reference audio from a camera or TC recorder. This can even deal with a fluctuating drift as it's really meant for aligning a Lav and a Boom track where the talent is moving in relation to the boom. - Recorder IDs.. Im pretty sure most of the current handy recorders that natively create BWFs will stamp a device name (shows up as 'Originator' in WaveAgent), but I suspect if you have more than one of the same model, they'd appear the same. All the Zoom recorders can have a custom filename with user-defined text followed by a sequential 'take' number we use to tell them apart. I'd certainly like to have a look at what you have already. Cheers, nick
  8. Hi Tom, It is my understanding that the "AD8HR Emulation Mode" allowing console control of head-amps from older Yamaha boards is a feature of the original series of RIO stageboxes, accessed via a dip switch setting on the RIO and a setting in the MY16AUD (set using Dante Controller) as outlined in the document Wandering Ear linked to above. Unfortunately for you, it is not a feature of the TIO stagebox, and in fact I'm told it has been removed from the newer series-2 versions of the RIO boxes as well, so your only choice with a TIO or newer RIO is to use the R-Remote software. This is how I run TIOs with my 01v96 and with non-yamaha Dante gear, and one gets used to it pretty quickly.
  9. It depends on how your two Lemo to BNC cables are wired, if you have one timecode out cable and one timecode in cable, then joining them with a BNC 'barrel' (female-female) cable as you suggest will work, but only in one direction. If both the cables are wired the same, it won't. This is because, unlike a Tentacle Sync with it's 3.5mm jack, the Lemo connector uses different pins for TC in and TC out.
  10. Hi John, in the iPad Settings window page for Logster, the switch labelled "timecode instead time' should be OFF (counter-intuitive, but might make sense in the original German). If it is on, the exported time seems to be a date-time group. Also the switch labelled "Automatscher Sync an/aus" should be OFF, and "Export as Text" should be OFF. "Allow access to microphone" needs to be ON of course. If you are feeding external TC to the headphone socket, and the time field at the top of the Logster screen is stationary - you probably have to experiment with the level of the incoming TC. Using my Tentacle with an un-attenuated TRRS adapter, I have to set the output level of the Tentacle to half way between line and mic level. Best to test it with timecode that's vastly different to the time-of-day to make sure it's reading external time properly and not the iPad's clock.
  11. you are looking for an app called Logster (be careful, there are several of that name that do ther things). While there are quite a few "timecode logging" apps, most of them only use the iPad's internal clock. Logster can read TC coming in the headset jack, much like MovieSlate can at an exorbitant monthly fee. The advantage apart from accuracy is that you can feed it 23.976 LTC (I have a Tentaclesync feeding the iPad ) which none of the internal clock apps can stay in time with. I use it for logging concert recordings with my SD970s where I don't cut for 90 min at a time. I export and merge the Logster notes with the 970's Sound Report using a Excel template to generate the full Show Report for the client. It can be a bit tricky working out the export settings the first time as their terminology has suffered in translation a bit, but once set up, it exports as CSVs. Mark Franken from Sounds In Sync (makers of Ediload) kindly updated his free EdiMarker app to handle Logster CSV format for automatic import to ProTools as Markers, too. I tried movieslate for this for one film and found it didn't work for me, though it's much loved by others.
  12. 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.
  13. 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.
  14. 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.
  15. 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
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