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Found 17 results

  1. Hi, does anybody know a 2ch, small, portable, light and battery supplied AES-3 to analogue line level converter? I'm looking for something to make some line inputs suitable for occasional use with AES signals. Any ideas? I go mad since I don't find any device like that. Greets Mungo
  2. I have an Audio Ltd. 1010 here for eval. The receiver has a switchable output; analog or AES. I must thank Sound Devices for thinking to put AES (3 and 42) inputs on my 664 mixer recorder.
  3. So here is a something that has been puzzling me for a little while, despite my best efforts with google JW search and the Nomad manual - How the hell do I bus and get AES out of a Nomad? do I have to build a DB-15 to XLR breakout cable? (I am not very practiced with a soldering iron) How about in the bus routing menu? The reason I ask - I was geeking-out over my friends F-5 the other day and I noticed that the XLR inputs had the usual LINE/MIC/+48 switches, but they also had Analog/AES switch. This in-and-of-itself is not amazing, but I started thinking about sending up to 4 separate tracks to the camera with my existing break-away cable and how happy that would make post. Is my understanding of AES skewed (naïve)? Do I really need to use a breakout cable? Why does the Nomad need a breakout cable, but SD 664, 633, 788, etc. can route AES through the existing XLR outputs? Wouldn't it be swell to keep an audio stream digital rather than going in and out of A/D-D/As? Thank you, Ben
  4. Free exhibits-only registration extended through tonight at midnight! https://secure.aes.org/events/139/registration.cfm?type=vip&vip=1298 We'll have the Venue 2, SSM, L Series, the latest version of Wireless Designer software, and of course friendly conversation and cool swag. Booth # 343.
  5. I'm rigging a psc euro cart for a drama series and have the possibility of using a pic six pack to wrangle receivers together. I'd like to send signal to a 788t from wisycom mcr42 via aes but can't tell if it will work. I've contacted the mfg, but they haven't gotten back to me yet so I'm hoping I can discover something here. is there anyone here who currently does this? is there a workaround that was necessary? the psc six pack is a perfect layout for me as I'll have two booms and 6 lavs most days, but perhaps there are other good options? (no, the sound dashboard will not work, as I need only 3 slot-in wisys). I'll build the db37 myself from an existing xl88. /Miles
  6. Hi Everyone, I want to introduce our company MozeGear and announce our first product. MozeGear is a new U.S. company formed to design and manufacture unique audio products specifically for the television and film industry. We want to announce the “TIG” (which stands for timecode generator). Highlights of TIG’s feature list are: Miniature size (similar to a dollar bill folded in half) Accurate & high quality TCXO Sturdy anodized aluminum case with a hinged battery door Variable level output NEW FEATURE, “Flow Through Audio” combines audio and timecode by putting timecode on the tip and audio on the ring. This feature enables the user to input both audio and timecode into devices that were not meant for timecode (such as DSLR’s and some recorders). LED timecode discrepancy indicator Made & serviced in U.S. List Price $449 Introductory price $399 (until Nov 30th 2013) Our introductory price gives you a chance to get to know us. Expected Release Shipping should commence in one to two weeks. Where can you see a TIG? Pre-release versions of the TIG will be showing for the first time at AES this weekend in New York (Javits Center from 10/17 to 10/20). Both Professional Sound Services and Gotham have a pre release version of the TIG. You can speak to Christina Wittich from Gotham or Rich Topham from Professional Sound. For those located in LA, Location Sound and Trew LA also have pre-release versions. Feel free to call with any questions or look at our website. Laurie Webb 480-292-9060 lauriew@mozegear.com www.mozegear.com
  7. Hi, have someone used this setup in their job? Any ideas will it work properly or are there any kind of problems that suddenly will happen?
  8. I have been using AES outputs quite a bit with 664 and mostly XDCAM 700/800's and pix 240. I have been using a regular analog 15 foot snake with good luck. However, anytime I lengthen the snake I start running into problems. Obviously the impedance of the analog cables/connectors is not ideal. -Has anyone made or sourced 110ohm snakes for distro? -Anyone running Transformers and coax for distro? What are your thoughts? -What does SD recommend for AES cabling and Distro for 25-50foot lengths?
  9. Since I am currently in cable-making readiness mode(have 200' of CA3PS26 coming from Trew and Neutricons from Markertek for my DIY breakaway cable system), I am also thinking about building a breakout for the DB-15 AES connector on my Nomad. I am looking at different cable options, this one looks quite good: http://www.gotham.ch...7_details&id=59 Has anyone yet built one of these? Managing the shields in the DB-15 looks like it will be the most "fun" part of the job... and the 15mm diameter of the cable presents a thought as to the shell of the DB-15.
  10. Hello Fellow JW Sound Travelers, This year for AES at the Javits Center in NYC, we have something truly special in store for you! Join us as we exhibit with Sound Devices, Lectrosonics, and Radio Active Designs. Jon Tatooles and Pat McConnell of Sound Devices will be traveling here from the fields of Wisconsin to present their expertise on field recording. Karl Winkler from Lectrosonics comes from Rio Rancho, New Mexico to give you his take on the future of wireless and show off his amazing wireless range. Geoff Shearing and James Staffo are scheduled to arrive just in time to tell you about their new products which take wireless off the UHF spectrum and into VHF. Massimo from Wisycom will be making a guest appearance in our booth to update you on the future of his products! Saturday, 10/19 we are proud to have the illustrious straight Martin Kelly racing straight off the set of Comedians in Cars to give you a special presentation on Multitrack Recording featuring his custom touch screen rig we collaborated with him on Spike TV's Ink Master. Full schedule and register for your free guest pass in our October Gazette. Other cool stuff: We now are proud re-sellers of the Zoom H6 and Tascam DR-60D. These products will also be show in our booth. Interested in our studio side? Sal Barra will be showing off his Awesome Transistor Channel Amplifier. Interested in swag? We'll have tons of it !! Check it out !
  11. Audio Engineering Society : Announcement AES64-2012 Command, control, and connection management for integrated media This standard for networked command, control, and connection management for integrated media is an IP-based peer-to-peer network protocol, in which any device on the network may initiate or accept control, monitoring, and connection management commands. The AES64 protocol has been developed around three important concepts: structuring, joining, and indexing. Every parameter is part of a structure, and control is possible at any of the levels of the structure, allowing for control over sets of parameters. Parameters can be joined into groups, thereby enabling control over many disparate parameters from a single control source. Every parameter has an index associated with it and, once discovered, this index provides a low bandwidth alternative to parameter control. More informations: http://bit.ly/W7rS0y I would like this topic to cover announcements, standards and news from Audio Engineering Society.
  12. Hi, I have an AES breakout cable (terminating in XLR) for my Nomad and also the Remote Audio mixer cable for Nomad. I'm wondering if it's possible to successfully and reliably transmit an AES signal through the Remote Audio cable? It would be into a Sony XDCAM (don't have one handy for testing). I think I remember reading somewhere a good while ago that it's possible to run into problems running an AES signal through "regular" audio cables, so I wanted to check. Thanks!
  13. Hello People, I'm looking for suggestions from those familiar with the finer details of Nomad capabilities. I just upgraded to the 12 and believe I have found an unfortunate recording limitation, bummer for me, and you other 12 track users. I am using and 8 channel board in front of the Nomad sending 8 AES channels into Nomad. The way I see it on the input config screen, my only option for 8 channels of AES on the nomad is Input Type 7. With this option selected, it limits my 9-12 card tracks to R1 and R2 only - R3 and R4 are RED (danger danger) because of the input type 7. The option for outputs 1-4 isn't enabled.....yet? Does anyone know of any possible solutions still using the 8 AES inputs? Am I stuck with 6 mic pre's and 6 line level inputs to record 12 separate tracks? Thanks, Jobo
  14. What kind of audible artifacts, if any, might appear if I wanted to record three separate ISO tracks on a recorder like Pix 240 using two different AES3 input pairs that share the same sampling depth and approximately same sampling frequency (48Khz/24bit), but are not synced to the same word clock? As a practical example, let's say there was a boom mic connected to input 1 via a MixPre-D and a Sony dual channel DWX series digital wireless microphone receiver connected to input 2. The Sony receiver has a word clock input, but MixPre-D doesn't have one. Let's say there are no word clock sync cables connected between the devices at all. It is difficult for me to understand which one of these devices will act as a "master clock" in such a set-up and how in practice will the recording device compensate for the slight drift in the sampling frequency between the two inputs. Will there be audible "jitter" on one of the tracks or is it more of a theoretical problem?
  15. AES Standards Committee Chair, Bruce Olson, reports an important step forward in the development of Audio over IP in broadcasting: The Audio Engineering Society and the EBU have announced a collaboration with the goal of producing a new common packet-based network standard for linear PCM audio. This liaison is officially entitled "Next generation AES/EBU Interface Based On IP Technology." These two organizations have a history of fruitful collaboration. First published in 1985, the AES3 standard, also known as the AES/EBU interface, is a fundamental standard for the transport of digital audio signals between professional devices. The new liaison is a continuation of this work, which will benefit the whole professional audio industry. The primary AES/EBU focus is on audio interoperability over high-performance IP networks, with the further goal of interoperability with the EBU's common framework for audio contribution over IP, ACIP. The initiative is partially inspired by the ACIP project group's interoperability recommendations for audio over wide-area IP networks. Through the ACIP2 group, chaired by the IRT’s Sonja Langhans, the EBU represents the technical interests of a key user group for the new standard, the public broadcasters of Europe. Within the AES, the work has already started, with the project known as AES-X192. The group is chaired by Kevin Gross. A recently published draft is now being discussed among project participants, including some ACIP2 members. New project participants are welcome. EBU Members or manufacturers working in the broadcast domain can start by joining the ACIP2 project group. Others can directly contact AES task group SC-02-12-H, which is open to any directly and materially affected individuals. It should also be noted that the 133rd AES Convention, scheduled for Oct. 26 – 29 at SF’s Moscone Center will introduced a dedicated Networked Audio track chaired by noted engineer and long-time AES member, Tim Shuttleworth. The six workshops and tutorials developed for this event will feature participants including Sonja Langhans and Kevin Gross. They will address many of the workflow issues and related concerns currently acting as ‘stumbling blocks’ in the path of interoperability. www.x192.org via AES
  16. Howdy, I'm hoping for some technical guidance running a console mixer in front of a Nomad 8. I'm setup using both AES inputs and analog input on nomad to accomplish a post fade mono mix, and pre fade ISOs down the line. The setup is Sonosax 84 AES out -> Nomad AES in. Ch 1-8 digital out on sonosax is post-eq, pre-fade signal. That feeds directly to Digital in 1-8 on Nomad. The Sonosax digital out is ONLY pre-fade, post eq. In order to get a post fader signal I must run an analog bus (XLR) out of Sonosax and into analog input 1 to Nomad. This solves my routing a mono mix to the Nomad, my question is this. Am I facing any factors in delay or latency with this setup and A/D conversion? Recording to Card using Digital & analog inputs simultaneously, does anyone else have experience with this? I notice no delay between the mono mix track and the pre fade track on Nomad with this config, but I'm not sure on the science end of it. This is a new setup for me, any constructive suggestions/criticisms are welcome. Thanks, Jobo
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