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About chrismedr

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  • Interested in Sound for Picture
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  1. similar from the german virologist I mentioned, he estimates from all the studies that are out of the moment that surface transmissions might account for about 10% of the total infections. so definitely worth to keep an eye on that, but it seems that it needs quite a high dose to be infective over surfaces. btw, he estimated the rest of the infections coming half from aerosol transmissions (very tiny particles from normal breathing that can accumulate over time in the air in small rooms) and the other half from tiny droplets from coughing or wet speech. having enough fresh airflow can help against the former and keeping some distance and wearing a mask about the later.
  2. well, it‘s hard to know for sure how long you have to wait for objects to be harmless, but so is how much alcohol, soap or UV light you need to be 100% sure. that said, the one source I personally give a lot of weight, christian drosten, was discussing the 72h number in the NDR podcast, and he said that comes from a study which is not modeled to reality (way higher initial dose) and they didn‘t measure if the virus was infective, only that it was there. he estimated that on normal surfaces after 8h there will be such a small amount of virus left that it will not be contagious anymore, so personally I‘d feel safe with 48h - or at least a *lot* safer then with a pocket sized UV box for 1 minute. but unfortunately we‘ll only know for sure in a few months, at the moment all we can do is trying to reduce risk yeah, it's a lot of money in times with little income. but to me getting cheap wipes for free which destroys the lavs sound more expensive in the long run.
  3. One way would be to get more spare lavs: use set A on monday, put it in save storage and use a completely different set B on tuesday, set C on wednesday. Then on thursday Set A again, etc. (Store the lavs in a way they can dry while in storage) you‘d need 2-3 times as many lavs as normal which is a significant investment, but on the other hand you should be good for a few years afterwards, and it‘s probably cheaper then destroying the cable with alcohol.
  4. that's an interesting aspect I wouldn't have thought of, thanks for the story. true, seems sometimes like nobody reads them. to be fair it might be that in this case the guy just got handed some sound samples to evaluate and didn't get to see the sound reports when making his calls.
  5. I don't have the knowledge to draw meaningful conclusions here, but one thing I can mention from similar tests I did, is that that preamp noise can also be a factor. afaik the MK41 needs quite a bit more gain then the MKH50 for example, so make sure that you use *very* good preamps if you really want to be sure the test is about mic self noise (out of interest, what was the preamp/recorder btw?).
  6. to me 32bit float recording for ISOs is pretty much a no brainer once the technology becomes available and post pipeline supports it - I very much expect it to be the norm in about 5-10 years. just imagine for a moment that we all were used to record the full dynamic range of any audio source and somebody came along and said: "that's a waste we don't need that, lets just clip the audio at some arbitrary level based on what we think will be the loudest noise in the scene. oh and for good measures, lets throw in some distortion mechanism just in case it happens." the downside of float recording of course will be: - more and more people will think they can do a good job at sound recording without understanding the nature of audio - films without proper post for audio will have way to high dynamic range and levels all over the place - films will not get any better because of float recording not sure what you mean here, like recording at the boom pole without a cable to the mixer? sounds like having a blind pilot flying the plane, not a terribly good idea (not to speak of all the extra work in post that this would cause).
  7. I don't deal with long range antenna stuff myself, but I see this problem for example: Imagine my receivers are on set, then SDI to cart 50m away from set. Now I have a RF problem and need to switch channels on the receivers. so I run 50 to the set, swap channels, run 50m back and check audio only to find that it didn't solve the issue. rinse and repeat : )
  8. I know little about these units, but wouldn‘t another option be to use the cheaper receiver and use the analog out to the camera xlr in? not as neat as the hot shoe, but more reliable i figure. And if I were to spend over 4k for a camera hop, I‘d definitely look into other options with better audio quality and that can also be used on other cameras. just some thoughts
  9. Not sure if this got anything to do with this thread but just seen this: https://nofilmschool.com/lectrosonics-dpr-plug-secure-audio
  10. A digital output alone would not be of much benefit for the float recording of the mixpre as the signal has already be limited in the transmitter. the problem is float would take up more bandwidth on a wireless signal (plus require a full digital transmission and output interface supporting float). not many transmitters will even do uncompressed 48/24, and adding 32bit float would demand 50% higher bandwidth. so better to run a wire, of that is impossible use quality transmitters and mics and take care of proper gain staging.
  11. not sure if I understand the question, I think John was talking about exactly this, and the manual is pretty clear about it. on the CUT 1, you can't have only a "fixed 24 dB/oct 60Hz filter" no matter which position. it's always going to be an overlay of two filters, a fixed 24 dB/oct 60Hz filter, plus one that runs at 6db/oct and that you can adjust from 70 Hz and 600Hz my guess is that the second filter at 70Hz hardly noticeable on top of the steep fixed on at 24db/oct, but if you don't want that second filter it looks like you need the CUT 60 it's starting to cut at 70Hz at a rather gentle slope and then adds another rather strong cut at 60Hz, the result of which can be seen in the diagram of the manual. hope I got this right since it's talking above my pay grade here ; )
  12. I don‘t have hands on experience with either, but the graph in the manual of the cut 1 shows a drop starting at 70hz https://schoeps.de/fileadmin/user_upload/user_upload/Downloads/Bedienungsanleitungen/Schoeps_Manual_CUT-090301_1388735774.pdf then again some sources on the web that read like they come fron the schoeps press release mention the cut 60 having „the same 60hz“ cutoff like the cut 1. a few other sources (for example b&h) mention in the cut60 specs -3db at 60hz, which is pretty much in line with the graph of the cut 1 manual. so personally I guess they are pretty much the same in real world use.
  13. The nature of DIY is that one spends a lot of time of researching and tinkering until things work exactly as planned (unless one has a lot of prior experience). it seems to me that you worry too much about a lot of things, I suggest you re-read this thread again, and then make a decision if you want to go the route with mini-bnc or full size plus adapter, then crimped or presoldered bnc.... and then simply try it : ) or if you are worried you can‘t pull it off just spend the money to have it made.
  14. Also the HD-25 for me. It's not really neutral but a pleasing detailed sound. One of them is beginning to start having a bad contact on the fork. I've heard of others that solder the cable for a permanent fix (I seem to remember Kortwich does that too). A very nice alternative is the Beyerdynamic DT 240 Pro. It's more neural and very affordable and also quite compact. The cable is a bit long but can be switched (2.5mm jack connector at the headphone side). Don't know how well they hold up in field use since I don't have them for very long. Also tried the 7506 for a while, didn't like them very much.
  15. great, that includes the gain I assume?
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