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Everything posted by SonicBoomPole

  1. As another 664 user looking for a CL-12 there is an alternative workflow but you may not like it, although it is less expensive. Its called a 12 channel analog mixer with pre-fade direct outputs, like an Allen & Heath MixWizard. Since basically every channel is now a wireless Rx with a line out just plug your sources into the mixer at line level (probably a 1/4" TRS input) and then direct out to the 664 inputs. Done. You take the Master output from the mixer and send that to the MIX IN on the 664. This leaves your pre-fade ISOs alone and inserts your mix performance from the analog mixer onto the L/R Mix tracks where it is recorded. As a bonus you now have analog EQ on all channels, more routing flexibility, more ways to solve problems. You also won't ever have to deal with the powering issues of the CL-12 and 664 combo. Downside is AC power is required, you may need to learn to solder or buy cables, analog cables and connections, no Dante, no AES and no respect from the people doing it the expensive way. A used 12 channel mixer for $500+$500 worth of cables or accesories is still $2000 less than a used CL-12....
  2. <snip> I did a bunch of these and we used the DPA mics. Dual ear, probably omni (rented from LSC). They come with a clip that secures the cable to the clothing - use that. If you need even less movement use tape like other suggestions. Leave some slack. Too tight is no good. I made talent remove any earrings if they touched the mic ear hook. Hair up worked a lot better than flowing long hair. Put the transmitter in a dry sheath (condom). Transmitter upside down if possible to reduce sweat getting into the connector. Since the mic is basically IN their mouth and they're almost yelling turn the gain WAY down. Position the mic away from the mouth/nose a little. ITs difficult to bend them just right so take your time and get it right for your talent. That should eliminate most of the air/breath issues and even help with any music being played over a PA. Keep in mind there will likely be music over the edit so that will help. For these the music was played from over head ceiling installed speakers that we controlled to volume of. It was the same track for the edit so that helped a little. These were about the clothing not necessarily the audio or the workout. The visual will always win. These outfits were the hardest with the bare mid-rift since you can't use the back of the bra if they'll be on their back. If they weren't on their back I put it there and the cable management was better. Sometimes I just had to do what they said I COULD do for the look. Meh. We did full 20 minute takes with 3 cameras. Some of these turned out better than others or looked better than others but given all the movement and relying on the wires I think these turned out just fine for YouTube. You'll be fine - have fun and enjoy it!
  3. May I humbly suggest a small portable recorder like the Sony PCM-M10 or even a Zoom H4N. The Sony will do 96/24 but lacks XLR or 1/4" connections. Both will supply plug-in power for electret mics. The microphones I'd suggest for ambient nature recording on a budget would be these: https://www.soundprofessionals.com/cgi-bin/gold/item/SP-BMC-10 I'd also look into getting the power supply: https://www.soundprofessionals.com/cgi-bin/gold/item/SP-SPSB-1 I personally use these mics w/o the power supply into the Sony for concerts and ambience. I'm happy for the cost. Other similar options are available from https://www.core-sound.com/ I've used their Binaural set in the past. They also have a set based on DPA mics as suggested here. You may also want to look at this website to evaluate recorders: https://www.avisoft.com/recorder-tests/
  4. Checkout the now discontinued Grace Lunatec V3. https://www.gracedesign.com/support/manuals/v3_manual_RevE_online.pdf Actually all of Grace's products a phenomenal.
  5. You're likely correct about the tape formulation and the Nagra set up. The tape I've been using to test with was the tape it came with, looks like Scotch 150. It was from a radio station. I plan to attempt to calibrate it myself with help from the manuals and Google Translate. I've hesitated to put on a new tape because I know it won't be calibrated for it. I have some Ampex, RMG and ATR stock. I also have some old Scotch that I can use and should be more period correct and also match the calibration. I did test a few different reels with it, that Scotch, BASF, and a Honeywell with the same results accross the board; good input/record levels and very low output. One thing I think it really needs is a demag. The tape was threaded and the pinch roller engaged for years. The heads may be magnatized. I'm also not seeing the speed stabilizing to 60Hz for the US. Both wheels spin freely and never settle, as on my turntable stroboscope. I'm using AC power so should be 60Hz. Also, FYI Forrest called me within an hour or two of my post so he is still around and happy to work on your Nagra 4 series and said he could help with my playback amp if I decided to do it. $250 lab/bench fee and you get it all cleaned/lubed and set up for whatever tape you want. Not bad really. Thanks again for keeping me engaged with this project!
  6. New belts were installed yesterday and now I can rewind a tape, I'm so excited! It wasn't as bad as I thought but there were some moments of shouting expletives. I was not able to remove the smaller belt under the motor. I couldn't get the old one off. It seems to be in good shape however and if it becomes a problem I have a replacement. I also found the electrostatic discharge wire and put that back how it should be (I hope). My next challenge will be the Playback Amplifier. Test mode and Record mode seem to be working fine. I get good mic and line level signal input and sound through the recording amplifier to the monitor output (phones) but upon HiFi playback there is very low output and no movement on the modulometer at the same output level on the fader (0db). I'm assuming there are out of spec components in the PB amp that need replacing. Tested at 7.5 ips NAB and 15 ips with the same results. Also, FYI for anyone reading this hoping to get service on a Nagra III I did call Forrest Forbes formerly of Trew Audio and left a voice mail but never got a response.
  7. Great observation! Strange. This is exactly how I received it. The replacement belts I ordered are round, 3 of them. A Video of the belt installation would be INCREDIBLY helpful, thank you. OK I will investigate this and report back, thank you. Yes, that seems correct. So is that standard to have to short these pins to use batteries? I prefer to use the EXT DC input for my purposes going forward. Thank You for shedding some light on this mystery of mine and giving me something to do during this time of no work and no light at the end of the tunnel.
  8. Thank you so much for your reply TBFAN! I have uploaded a few photos of the inside of my Nagra for your diagnosis. I have not tried to use batteries due to a note written inside the battery compartment as seen in the photo. It reads: When battery operated a shorting plug MUST be used Pins 2 and 4. So if I just take a piece or wire and connect pins 2 and 4 together would that be sufficient? The belts are not tight and should be replaced. I need help with that. I have some resources to follow but have not taken the time since it will take me a while to complete carefully. I will look at the service manual you provided and see if I can make any sense of it. The troubleshooting at the end looks helpful. Thank You again! Kevin
  9. I need some help/advice regarding my Nagra III. I made a DIY power supply from a wall wart (12VDC @ 1A) using a 6 pin DIN and pins 2 and 5 on the accessory connector. Positive is earth/ground. Works almost perfect except for rewind. I've read the manual and other relevant posts here and elsewhere but can't figure this out. Again, playback, record, line in/out and the XLR all work as they should. I have the function selector switch set to EXT and when I turn it to either playback option and turn the tape transport control knob to the 'ON' position it plays no issue. However when I turn the On/Off knob to the left to disengage the tape and rewind it does a fast spool forward instead of rewind. The fast spool button works as it should spooling the tape forward onto the take up reel. When I acquired the deck it had a tape treaded and was in the ON position for who knows how long. I know that is not ideal. There is a blurb in the manual that this may affect the rewind capability. I don't think it is my PS being wired backwards since that would make the normal playback in reverse which is not the case. I'm guessing that I simply don't understand the mechanics....or that the working surfaces of the rewind clutch have suffered as stated in the manual. I did purchase a replacement belt kit but I'm a little anxious about doing the work. It looks intimidating. Any ideas?
  10. Eric Bellew at Cannibal Industries. I don't see an actual website. He has a FB page and Instagram... https://www.facebook.com/CannibalIndustries/ https://www.instagram.com/explore/locations/140701219913382/united-states/santa-clarita-california/cannibal-industries/?hl=en
  11. Thanks. The interested party in Canada may have found a resource but if you do find that contact please share it here or via PM. Awesome user name btw!
  12. Does anyone here in Los Angeles (or perhaps in Canada?) have a working system to do a single tape transfer on a Sony 1630? I have someone (in Canada) who purchased a tape on eBay and would like to convert it for listening. Minor monetary compensation awaits you If you have any leads feel free to contact me directly or comment here. Thanks!
  13. Happy Friday Nagra nerds...I came across a cool thing that may interest some of you: The Complex Sessions by Neil Young & Crazy Horse from 1994. I have the Laserdisc and the beautiful image on the cover caught my eye. It is a wonderful performance captured by John Hanlon on a Nagra IV or 4.2 (look at the photo and you tell me). Directed by Jonathan Demme with DP Tak Fujimoto. It looks and sounds great! Enjoy the photos of the cover and the link to more info regarding the sessions.
  14. Ahhh, good to know and glad I asked. Definitely not like a studio deck. I guess I'll just leave it alone for now. Thanks Ashley and David for your help!
  15. Thank you David - yes I'm aware different tape formulations require different calibrations. It has been a long long time since I was in a studio aligning a tape machine but I assume it is a similar process. I don't actually know how to do it on a Nagra though so if it pleases the group, post it here. If not, please PM me if you can help me learn how to do it myself or point me to another resource where I can learn. Thank you!
  16. Thank you Phil for that detailed and informative response! Hopefully it is useful and relevant to other readers here. Print through is indeed what I was thinking. I think I'll be good with my 480 since it is new and exactly right for the situation. This is a fantastic thread. I think I may have been bit by the Nagra bug...and I'm exited about full track mono!
  17. Sorry to diverge on a tangent but I had a question regarding tape stock for my 1960 Nagra III. What is the consensus on what to look for these days or does it even matter? What was everyone using back then? From what I've read here it seems 3M/Scotch 208 was preferred. Looks like that's from '71 though so prior to that probably 2xx right? I've also heard of people using 608/808/908. There is a post here about LSC liquidating old Quantegy 478 so that's an option. I ask because I just happened to pick up some sealed NOS Quantegy 480 locally that is branded for use on Nagra recorders. Dumb question; what does low print mean? I have an idea but need a better understanding if someone could kindly explain it. Here is what I've found re: 478/480: Thanks!
  18. Thank you gentlemen. I did find the manual. Happy to report it runs on ext power but have not tried to pass signal or thread a tape. Cleaned up pretty well for round one. What do you think of the head condition? Specifically the white blob on the record head? It concerns me. Thanks.
  19. This whole thread has been so very entertaining, informational and even inspirational to a younger dude like myself. I just wanted to do a little happy dance and share the Nagra III I got today. I know its pretty beat up but I'm hoping it will power on and I can clean the heads. Fortunately there was no battery installed and it was at least stored with the lid closed but sadly the tape was never removed and that has caused some head damage. Other than some casual reading of the first 1/2 or so of the thread I have zero Nagra knowledge. I do have a Teac 6300 but never used a Nagra. I don't want to hijack this thread but if someone could point me to a few good resources for manuals or parts I'd really appreciate it and get out of the way of this thread. Pics for attention
  20. Allen Lee Williams' Sound Speeds channel has a lot of useful info Drew Brashler made an excellent video that explains RF signals and distro. It can be found Here This page comes in handy http://www.sengpielaudio.com/calculator-db-volt.htm and they have several other handy pages just like it.
  21. Not at all! However, if I walked into Abbey Road and saw a Trident and a Scully I'd make a weird face and a strange grunt.....then ask if we get lunch on this tour.
  22. You went too late When I went in November 2011 Noel Webster was still in charge. This was just after The Black Keys did their record Brothers there. Noel bought the studio when it was basically in ruins and brought it back to life and made it a historical landmark. The entity that purchased it from him has made several updates and renovations to turn it into a 'museum tour' of sorts. Not much is left of the mojo that once was. When I went, unannounced while visiting my wife's family, we had to walk around back to the basement level and knock on the door until we got a response. Noel met us and welcomed us in after I explained that I'm a sound nerd visiting from LA. He's from Chicago and was cooking up some sausages and offered us lunch while we looked around and he told us all the stories. The control room, at that time, was host to a 12 input SpectraSoncis console, a couple Ampex 351, Otari RADAR 24, and a Pulltec. There were a few more things in the rack but nothing crazy. He also took me out to a bunker behind the main building and showed me an RCA console he said was Sinatra's from NYC. There were also some big film machines like a telecine and maybe a moviola as well. I recall he mentioned that stuff was used on Jaws but that's real foggy now...In the front room he was attempting to set up a mastering room with an old G3 running Sonic Solutions and some outboard Weiss stuff. Smart, interesting guy that Noel. Sort of a cook, but aren't we all? Sorry for the old crappy iphone photos...
  23. I was lucky enough to get to spend part of a day with this console in March 2018. A random phone call asking if I was available for a sit down interview came my way. We discussed the details and agreed on rates etc. I show up to the former residence of Kanye and Kim in a very posh gated community. The house is basically all stone/concrete inside with minimal furniture. Pretty much the worst for an interview. Our subject is a very wealthy silicon valley investor....I signed an NDA. As we wait on talent I decide to walk around the residence. I peer around a corner and almost dropped my coffee when I see the beast. It hit me like a tank and it looked like one too. F*** me I thought. My knees were weak. There was also a J37 and a C37 with it, though not from the Beatle sessions. Story goes that our subject is a huge Beatles fan. Mr. Kravitz was looking to sell and our subject had the money. VK brokered the deal. After speaking to the subject about why the hell this thing was here in the first place they asked if I could run it for a demo at a house warming party where people could sing Beatles songs into it a la Karaoke (!) Of course I said yes but sadly it never happened. I never got the chance to turn it on or listen to it. I was put in touch with Troy from VK in order to learn how to operate it. He told me the whole story, like how it was almost lost in Katrina, and that the next chapter was that our subject is moving to Palo Alto and putting the beast in their home studio where I'll never ever see it again... I decided to dig up as much info on the console as I could from the fabulous Recording The Beatles Book which describes the Abbey Road gear in detail as well as The Complete Beatles Recording Sessions with a timeline of their recordings. I was able to put together a discography of sorts that describes what sessions happened on this particular console that lived in Abbey Road Studio 1 (the big main room). A lot of cool stuff happened on this console, mainly the All You Need Is Love satellite broadcast. However most of the Beatles stuff was done in Studio 2 as well as other rooms for mixing and overdubs. I've attached a text document of my findings so you can get an idea of how it was utilized by the Beatles. Sorry for so many words....it was a very special day for me that I will never forget. EMI REDD37 History.rtf
  24. This thread made me update my website. https://www.sonicboompole.com/
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