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davedv

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  1. Atomos or Blackmagic are pretty much the only monitor-recorders out there at this point after Sound Devices (Video Devices) and Convergent Design (which sold the Odyssey 7Q) both exited that market segment in the past few years. The Odyssey 7Q was unique in that it had an OLED screen and didn't have a fan (which is unusual for a 4K-cabable recorder), although the on-screen interface was a bit clunky. In terms of audio features, the Sound Devices PIX monitor-recorders were by far the best (as you might expect given the company background), and were solidly built, although they were a bit on the heavy side. But these models have all been discontinued at this point. Among the currently available options from Atomos and Blackmagic, there are still a variety of differences between their different models, but it really depends on what your needs are. One decision is whether you want a larger 7-inch monitor (Atomos Shogun 7 or Blackmagic Video Assist 7") or 5-inch monitor (Atomos Ninja V or Blackmagic Video Assist 5"). The larger screens are obviously easier to see, but that also makes for a heavier unit. And there are also I/O differences driven in part by limited space available for ports on the smaller monitors. For example, the Ninja V has no SDI inputs, only HDMI (although they do sell an SDI add-on unit that fits into the battery slot). The Video Assist 5" does have built-in SDI, but on less robust mini DIN connectors, and it lacks any external audio inputs (the Ninja V at least has a 3.5mm audio input). In contrast the 7-inch models have full size BNC connectors for SDI as well as XLR inputs for balanced audio (albeit via a breakout cable in the Shogun 7 case and mini XLRs on the Video Assist 7"). There are also screen differences between the different options which could matter if you are shooting outside and need something that's daylight viewable or if you are monitoring HDR video. The Shogun 7 is the brightest at up to 3000 nits, followed closely by the Video Assist HDR models at 2500 nits, then the Ninja V at 1000 nits, then the Video Assist 3G models at 300 nits. The 2500 nits+ models are generally daylight viewable screens, the 1000 nits of the Ninja V is borderline and you might often need a hood, below that works best indoors or with a lot of shade. The 300 nit models aren't really HDR capable either. In terms of build quality, the Blackmagic units are perhaps a bit more solid as they have metal frames, whereas the Atomos monitors tend to use more plastic. But this also means that the Blackmagic monitors tend to be heavier than an Atomos monitor of the same size, so it's a bit of a tradeoff. Another key difference is in terms of recording media. The Atomos recorders use SSDs for recording whereas the Blackmagic Video Assist line uses SD cards. SD cards are a lot smaller in physical size which allows the Video Assist 7" to have dual card slots for continuous relay recording. But you actually need pretty fast SD cards to record video (4K video in particular) which often means faster UHS-II cards (V60 or V90) that are quite a bit more expensive and also more limited in capacity. It's hard to find V90 cards larger than 256GB for example, and these can fill up fairly quickly with video especially at higher resolution or higher quality settings. So I think generally the 2.5-inch SATA-based SSDs used by the Atomos recorders tend to be more cost effective in terms of cost per GB. I should point out that the Video Assist recorders do have an option to connect an external USB-C drive for recording, which in principle somewhat equalizes the media costs. However, the location of the USB-C port and having a drive dangling from the monitor makes for pretty awkward field usage, so I'm not sure I'd recommend this unless you are going to get creative in terms of rigging to make things more secure. And then I haven't even gotten into recording formats, if you want to record RAW video for example, then there are competing RAW formats between the Atomos and Blackmagic recorders as well as different cameras that they are compatible with. But if you just want to record regular video, you may not need to worry about this. Anyway, the key point is that there is no single best option out there, what makes the most sense really depends on what your workflow and intended usage are.
  2. Lectrosonics actually sells a cable with a right angle DC barrel connector for their receivers and battery eliminators, it is part number 21472. The other end of the cable has unterminated leads so you could attach a Hirose or other connector if needed: https://www.lectrosonics.com/accessory-links/product/p21472.html Note that it is not actually the length of the barrel connector contact (the metal portion) that matters so much. I believe the Lectrosonics cable has about a 9.5 mm (0.375 in.) deep barrel contact, which is pretty typical for shorter length barrel connectors. You can also find connectors with 12mm to 14mm (0.475 to 0.55 in.) length contacts, but that's not critical. What matters more is that the plastic insulation and strain relief is at least 5mm long before the right angle bend. I believe on the Lectrosonics cable it's about 9mm (0.35 in.) of plastic before the right angle bend. So the total length from the tip of the connector to the bend is about 18mm (.725 in). Additionally, the diameter of the insulation also needs to be 12mm (0.5 in.) or less to fit through the opening in the bottom of the receiver. In terms of pre-made Hirose to right angle DC barrel cables, you might take a look at the Remote Audio CALEPWRBS: https://www.bhphotovideo.com/c/product/287296-REG/Remote_Audio_CALEPWRBS_Betacam_to_Lectrosonic_185.html https://www.trewaudio.com/product/remote-audio-calepwrbs/ Or I believe Gotham Sound sells one as well: https://www.gothamsound.com/product/hirose4-21-long-right-angle-dc-power-cable
  3. After some Covid-related delays, the Tentacle Sync Track E is now available for pre-order from B&H for $349: https://www.bhphotovideo.com/c/product/1506356-REG/tentacle_sync_track_e_pocket_audio.html From the updates on the Tentacle Sync website, it sounds like they are going to begin manufacturing in the next couple of weeks.
  4. There's a helpful 8-series comparison chart here for the key differences between the 833, 888, and Scorpio: https://www.sounddevices.com/8-series-comparison-chart/ Pricing for the 888 is $6995 which as you might expect fits between the $3995 for the 833 and the $8995 for the Scorpio.
  5. davedv

    New SD 833

    Yes, that's correct AES (or technically AES3) carries two audio channels over a single XLR cable. So this would apply to both AES inputs or AES outputs.
  6. So does this mean they are using multiple A/D converters like in the MixPre recorders and Zoom F6?
  7. davedv

    New SD 833

    According to the manual, the SMA connector: "Connects to included external antenna for Bluetooth LE." It's kind of interesting to have an antenna for Bluetooth, which is kind of designed for short range applications to begin with, but this may improve the usable range. Bluetooth LE (Low Energy) is the low power version of Bluetooth.
  8. I'm curious about the effects support. The website says that: "The vocal air effect is an easily dialed-in combination of EQ and compression that results in a breathy intimacy to vocals ..." Does this mean that EQ and compression are separately configurable effects that can be applied per channel? Or is it basically just vocal air effect on/off?
  9. The 6-series mixer/recorders also include AES digital I/O, AES42 digital microphone input support, more outputs, dual headphone jacks, separate trim and fader knobs, and configurable output delays (on the digital mixers). And while there isn't a single comparison chart that includes both the MixPre-10T and the 6-series units, you could open the comparison pages for the MIxPre and 6-series and put them side by side, to get a sense of the differences: https://www.sounddevices.com/products/recorders/mixpre-10t/feature-comparison https://www.sounddevices.com/products/mixers-with-integrated-recorders/688/feature-comparison
  10. Also may be worth checking out Waves Tracks Live: https://www.waves.com/mixers-racks/tracks-live It's a free download (or $99 with phone and support) and runs on both Windows and Mac. Includes timecode input and output features and is generally simpler to use than a full blown DAW like Reaper.
  11. It's certainly possible that some of the DIN 1.0/2.3 connectors are better than others, but it's kind of difficult to determine which brand of connector is being used in a particular product (the female DIN jacks in particular all look fairly similar cosmetically). So I couldn't really say which brand is best. I actually think the bigger issue than the brand of the connector is how the connector is secured to the device frame or housing. Some of the Blackmagic products just have the DIN connectors soldered to the internal PCB, with no retaining nut that secures the connector to the device frame/housing. Blackmagic often does the same thing with their BNC connectors (which isn't great either), but with the smaller DIN connectors it's way to easy to separate them from the PCB if that's the only connection point. The UltraSync One seems to have the DIN connectors secured to the housing with nuts, which looks a little more robust. AJA does this with their products as well, and it's definitely better (only destroyed one connector attached this way, as opposed to several of the BMD ones). But the bigger issue is a basic physics problem. The DIN 1.0/2.3 connectors are small, thin, and stick out from the device. That gives a fair bit of leverage for something to bend or damage the connector. Especially if there is something like a cable hanging off the end that someone could accidentally yank or trip over. The plugs on the cable end have a push-pull locking mechanism, similar to a LEMO or Hirose connector. This works ok, although it's still not as secure as the BNC twist lock. I've broken the male DIN 1.0/2.3 connectors on the cable end as well, but at least those are cheaper to replace.
  12. I'm not a huge fan of those DIN 1.0/2.3 connectors for a slightly different reason: they are kind of flimsy. These connectors are sometimes used for SDI video signals in on products where space is a concern or where a high density of connectors is needed (for UHD quad link SDI video, this allows for cramming 4 of those connectors in a very small space). Some of the Blackmagic Design products use them. Let's just say I've broken a few of these DIN connectors, and overall I've found them to be far less robust than full-sized BNC. The connectors do look fairly well secured to the unit in the UltraSync One mockups, but I'd still prefer something different, like full-sized BNC or LEMO. Even 3.5mm, while it is not a locking connector, at least the jack is recessed so there is less chance of damage. There's actually a Mini-BNC connector size as well, which looks like a full-sized, but is about 40% smaller: http://www.amphenolrf.com/connectors/mini-bnc.html Even these Mini-BNC connectors more robust than the DIN connectors, although they are a bit larger and share the problem that they are kind of non-standard.
  13. The SyncBac Pro unit definitely looks interesting and it seems like they just started production of the units in early September. Just in time for the announcement of the new GoPro Hero 5! Just one small problem ... the GoPro 5 seems to lack the multi-pin expansion connector on the back like the earlier GoPro models have. Which means there's nothing for the SyncBac unit to plug in to. It looks like audio input via USB may still be an option for the GoPro 5, although they switched to a USB Type-C port (rather than the mini-USB port included on GoPro 4 and earlier). Which means that the original GoPro 3.5mm to micro USB adapter and the IndiPro XLR to USB adapter that started this thread, would not be directly compatible with the new GoPro Hero 5 models. It looks like GoPro will have an updated 3.5mm to USB Type-C adapter as an accessory for $50 though: http://shop.gopro.com/accessories-2/pro-3.5mm-mic-adapter/AAMIC-001.html
  14. Is this backwards compatible with the 400 series transmitters or does it only work with the newer wide bandwidth (LT, LMb, etc.) transmitters?
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