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OB1

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  • Location
    Atlanta
  • About
    Sound Mixer, Producer, Field Production
  • Interested in Sound for Picture
    Yes

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  1. Jake, were you able to get WD to work through the PSC 6 Pack?
  2. I have a lot of experience with this stereo bar. They are very secure and cannot be knocked out unless you are forcefully trying to (dropping, etc.). There are also variations of stereo bars that can be purchased (in the USA) that offer other stereo solutions like DIN, NOS, and a variation of DIN but at 17cm instead of the 20cm. So with that you can prepare for multiple scenarions (wider stereo separation, small or big rooms, etc.). If you need further info on the alternate stereo bars, reach out DM, I know some of the manufacturers personally.
  3. Apparently my source is obviously faulty!
  4. I believe in the US all VHF Tx is restricted to 50mw of power if you're looking for something with more umph than the T4. Caveat being that they're hard to find used.
  5. The folks at Audiotonix have to be salivating over this, how can they not be?! There's enough IP, engineering, and resources in that umbrella of companies to monopolize. Not that I'm a fan of lack of healthy competition, but the opportunity is sitting in their lap.
  6. Anyone here applied a plug-on for this use case? How effective is it in range? In fear of answering my own question, I think most of us have netted good results in range when a plug-on is at the end of a boom. But I've read that a mic helps to create the dipole configuration between the case and the coupler. So when there's an xlr cable on the coupler instead of a mic, the cable is now part of the antenna(?) and would be best to point the coupler straight down (or up) with the cable hanging down the mast? Am I understanding the design correctly? Ideally I would rather use a SM with an SNA, but I'm hoping to keep the budget on this 2nd bag to a minimum.
  7. Market value of the Scorpio just shot up.
  8. I see that you're a member of TS as well, so it's interesting that you're in here asking about live sound recording. The veterans over at TS know their equipment very well, and what performs for your use case specifically opposed to this group's affinity for production sound mixing. They don't venture into the Nagra/Zaxcom side of equipment because, as others have mentioned, those manufacturers are catering to a slightly different discipline and frankly the ROI isn't there. That's why you see a LOT of SD 7XXX being used: fidelity combined with economics and convenience. I've never used the AETA 4MINX, but have a lot of mileage with others. And if cost is not much of an issue I would recommend the Sonosax, especially if you're using primarily DPAs. There's a taper (that I now very well) that ran DPA into an M2 and those are the sweetest sounding tapes out there. For most, though, unfettered reference quality mics into a clean preamp isn't their thing (aka Schoeps, etc.). Personally, I think that's the whole point in capturing the music from the ambient crowd. But don't forget the A>D. Oh, and your playback system with whatever you use. It's all tied together if your goal is ultimately to listen to your own craft (and share it, of course). It thus becomes a very deep rabbit hole... PS - I run all DPAs in live sound and production sound mixing. 4017B (matched pair). 4021s (matched pair). 4023 (matched pair). 4011 "OG" (matched pair). 4098, 4099 instrument and plant mics. 4071, 4061, 6061 lavs. And so on...
  9. 744T or 788T if you need more channels. Plenty of folks record using DPAs and a 7xxx series and have been doing so for AGES without equipment issues. The drive may die on you, but DIY replacement is super easy.
  10. We have 2 units, both use Dfins but not both are deployed at the same time sometimes. One unit is equipped with 620s and were thinking buying PSC batwings for the other, but if 2 Dfins work then that should fill that need at least for the short term.
  11. A third, for not only the Denecke, but a no for a slate chock full of needless technology. I solution looking for a problem. Sure, the bells and whistles do sound cool, but in reality they never really play a primary role in a workflow. I do own a set of Tentacles mostly because ACs request them, but my clock is being generated by either my SD, or SB-4 and the tentacles are jammed to those.
  12. While on the subject of LPDA antennas, specifically the Diversity Fin. Can two D-fins be used as LPDA if only the LPDA BNC is connected on each?
  13. Can't beat the diversity fin. Literally. I heard folks say two LPDAs will get you better range but in practice I have not experienced this advantage at all. Now maybe in a more complex environment with more challenging line-of-site, but I've been in some pretty obstacle filled shoots.
  14. Redundancy. For the same reason they do it in live broadcast.
  15. OB1

    Case for CL12

    After some trial an error, I finally found a generic case that will fit the CL12 snugly, with the LMC cover and the 3 cable needed (along with a USB light). https://www.amazon.com/dp/B013UCNZVU?psc=1&ref=ppx_yo2ov_dt_b_product_details I didn't need anything heavy and fancy and waterproof (aka pelican) just a simple case to protect it while stowed in the 1620 case.
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