daniel Posted February 3, 2016 Report Share Posted February 3, 2016 1 hour ago, Glen Trew said: As mentioned earlier, more care needs to be taken with the 8060 with regards to low freq rumble from handling and wind. I normally use the screw-in filter to help with this. The computer interface allows the digital module to shaped about any way you like, but that can't really be compared to the 60, which already sounds pretty much exactly like the 8060. All of the recorders with 48V phantom will handle these mics the same. GT Thanks Glen. I realise I should have been more precise with my last question: Are their significant differences in how typical aes42 compliant recorders (Eg. Zaxcom/SD/Nagra/Sonosax) handle the remote control of a digital mic's dsp? Very interesting to read that an aes42 mode2 microphone like the 8060 + mzd8000 can be set-up from a computer - have you developed any ingenious dsp settings into a location sound workflow? I believe Rado has an all digital workflow(?) so I guess there are others who perceive a distinct cost-benefit (?). dr. Quote Link to comment Share on other sites More sharing options...
sergiofucchi Posted March 14, 2016 Report Share Posted March 14, 2016 I own a Schoeps SuperCMIT 2U and this is a great microphone in interior and outdoor. It is a little difficult to position using the 2-position in dsp, especially when fast moving the pole, while 1 in that there are no particular problems. Unfortunately for this application must use the wire or plug on Zazxcom, bearing in mind, though, that you can only use the output from the dsp and not also the analog output. In connection with the wire instead you have two output channels: one from the dsp and another bypassing the DSP, as a simple CMIT 5U. I got good results even from the DPA 4017B, compact and lightweight, very incisive from a distance. Quote Link to comment Share on other sites More sharing options...
Matthias Richter Posted March 14, 2016 Report Share Posted March 14, 2016 1 hour ago, sergiofucchi said: Unfortunately for this application must use the wire or plug on Zazxcom, bearing in mind, though, that you can only use the output from the dsp and not also the analog output. In connection with the wire instead you have two output channels: one from the dsp and another bypassing the DSP, as a simple CMIT 5U. are you sure that one can not transmit and receive both the DSP and the standard CMIT signal at the same time using a 742? I thought if you choose stereo mode as the transmitter signal it will send both signals. Quote Link to comment Share on other sites More sharing options...
sergiofucchi Posted March 14, 2016 Report Share Posted March 14, 2016 Zazxcom says it. Quote Link to comment Share on other sites More sharing options...
glenn Posted March 14, 2016 Report Share Posted March 14, 2016 Both Super Cmit audio outputs are transmitted in Zaxcom Stereo Mode Glenn Quote Link to comment Share on other sites More sharing options...
Matthias Richter Posted March 14, 2016 Report Share Posted March 14, 2016 Great!! And received by any Zaxcom RX (RX900 in my case) if set to stereo? Quote Link to comment Share on other sites More sharing options...
sergiofucchi Posted March 15, 2016 Report Share Posted March 15, 2016 I do not think. Plug on has a connector XLR with three holes for mono and for stereo it has five holes. But two channels out of SuperCMIT use a single XLR mono connector where on pin 1 it comes from dsp and on pin 2 not. Quote Link to comment Share on other sites More sharing options...
Glen Deakin Posted March 15, 2016 Report Share Posted March 15, 2016 Yes the rx900 will receive from a stereo 742 with stereo cone no problem. Quote Link to comment Share on other sites More sharing options...
Matthias Richter Posted March 15, 2016 Report Share Posted March 15, 2016 AES42 is a 2ch signal coming out of a 3 pin XLR. Quote Link to comment Share on other sites More sharing options...
Glen Deakin Posted March 15, 2016 Report Share Posted March 15, 2016 Yes that should still be fine. You can select to transmit mono or stereo. Quote Link to comment Share on other sites More sharing options...
Matthias Richter Posted March 15, 2016 Report Share Posted March 15, 2016 thats how I understand Glenn´s reply too. I was wondering if you guys using a SuperCMIT record always both signals prefade in addition to the one signal that you use in the mix? Quote Link to comment Share on other sites More sharing options...
Constantin Posted March 15, 2016 Report Share Posted March 15, 2016 thats how I understand Glenn´s reply too. I was wondering if you guys using a SuperCMIT record always both signals prefade in addition to the one signal that you use in the mix? Not me. I only record the dsp'd signal, but only ever use pos. 1. But in my world, I don't think there would be time to listen to the other track anyway, if they don't like the boom they'll go to the lavs. The differences between the two would probably be too subtle, anyway. A few years ago, when both the SuperCMIT and the 788T didn't have limiters in their digital paths, I used the second output as safety net, recorded a few db's lower. But now there are limiters everywhere, so I don't think I need this anymore Quote Link to comment Share on other sites More sharing options...
ao Posted March 16, 2016 Report Share Posted March 16, 2016 On March 15, 2016 at 10:18 AM, Matthias Richter said: thats how I understand Glenn´s reply too. I was wondering if you guys using a SuperCMIT record always both signals prefade in addition to the one signal that you use in the mix? in the past, if I ran out of tracks, I would only iso the track I was using in the mix. I have 24 tracks to play with now, track count is no longer an issue, and I always iso both supercmit tracks Quote Link to comment Share on other sites More sharing options...
Jeremiah Sheets Posted March 17, 2016 Report Share Posted March 17, 2016 If you are choosing a microphone specifically to deal with noisy environments, you have three options for handling it: Option 1 is using a microphone with a rather unbalanced off-axis frequency response when compared to on-axis, so that the frequencies most attenuated lie in the same range that you wish to capture. The CS3e or many long-guns are good for this. However for everyday use they will require more precise placement. Option 2 is to use something that has the diaphragm physically closer to the business end of the microphone. The 4017 for example has a very short interference tube, meaning that placing it just out of frame allows the diaphragm to be a few inches closer than a Super CMIT, 8060, or CS3e. Alternatively, a super or hyper-cardioid will place the diaphragm even a few inches closer to the subject. Edit: Lav mic falls into this category Option 3 is something with active or passive noise cancelation, in which I can really just think of either the Super CMIT or Sanken CSR-2. Depending on whether or not you are looking for a replacement vs supplement, or a specialized vs general-purpose, these are the main options to consider. Once you choose one of three, you're individual mic list become much simpler. Quote Link to comment Share on other sites More sharing options...
sergiofucchi Posted March 22, 2016 Report Share Posted March 22, 2016 On 14/03/2016 at 1:55 PM, glenn said: Both Super Cmit audio outputs are transmitted in Zaxcom Stereo Mode Glenn Schoeps says no: only one of the two output channels can be transmitted. Only pre dsp or only post dsp. Quote Link to comment Share on other sites More sharing options...
Matthias Richter Posted March 22, 2016 Report Share Posted March 22, 2016 When this was written Zaxcom was working on the update. Now its possible I believe. Quote Link to comment Share on other sites More sharing options...
ao Posted March 26, 2016 Report Share Posted March 26, 2016 On March 22, 2016 at 10:09 AM, sergiofucchi said: Schoeps says no: only one of the two output channels can be transmitted. Only pre dsp or only post dsp. with the trx742 and the digital cone, you can send and receive both the processed and unprocessed signal. I have done this on many occasions. make sure you are running a current version of the firmware. an earlier version reversed the channels, leading to some confusion. (well, I was confused by it...) Quote Link to comment Share on other sites More sharing options...
soundtrane Posted March 27, 2016 Report Share Posted March 27, 2016 I got two 742s only because i could use it with the two SuperCMITs i have. you CAN get two isolated outputs from the 742 to a QRX200. Of course the issue here is the power consumption of both units together which is about 900 mA. SO i have been working on a 'battery pack' to plug into the 742. 6Amp Li-Ion battery pack. This way I get about 5 hours plus of working time with the 742 + SuperCMIT combo. Quote Link to comment Share on other sites More sharing options...
Glen Deakin Posted March 27, 2016 Report Share Posted March 27, 2016 15 hours ago, soundtrane said: I got two 742s only because i could use it with the two SuperCMITs i have. you CAN get two isolated outputs from the 742 to a QRX200. Of course the issue here is the power consumption of both units together which is about 900 mA. SO i have been working on a 'battery pack' to plug into the 742. 6Amp Li-Ion battery pack. This way I get about 5 hours plus of working time with the 742 + SuperCMIT combo. Very cool. Can you take a picture of the antenna side of the trx742? Quote Link to comment Share on other sites More sharing options...
Bash Posted March 27, 2016 Report Share Posted March 27, 2016 On 14/03/2016 at 1:40 PM, sergiofucchi said: I do not think. Plug on has a connector XLR with three holes for mono and for stereo it has five holes. But two channels out of SuperCMIT use a single XLR mono connector where on pin 1 it comes from dsp and on pin 2 not. Hi Sergio, Because the Super CMIT mic OPs a digital signal, as in AES, the 3 pin cable is a balanced, digital, AES, STEREO (ie two channel) signal. This digital AES signal contains two channels (ie stereo). The Schoeps Super CMIT sends unprocessed on one channel, and processed on the other. Kindest, sb Quote Link to comment Share on other sites More sharing options...
TommygunZA Posted January 31, 2017 Report Share Posted January 31, 2017 Im clearly a luddite and cheapskate. Ive done a few noisy festivals and I've just boomed with an RE50/good dynamic hand mic tied in. Sure you've got to get close but its out of sight and you can have Motorhead playing in the background and still get good signal. Make sure you are monitoring with your ears! Quote Link to comment Share on other sites More sharing options...
Prahlad Strickland Posted February 1, 2017 Report Share Posted February 1, 2017 I've found what helps me the most. If it isn't to windy. Use a fluffy slip on. Work with ur camera guy. Have him frame as tightly as possible. Those two combinations get me right in there. A zeppelin u obviously lose 4 or 5 inches off the batt. Ur camera guy can def be ur best bet for proximity in noisy situations. Quote Link to comment Share on other sites More sharing options...
Recommended Posts
Join the conversation
You can post now and register later. If you have an account, sign in now to post with your account.
Note: Your post will require moderator approval before it will be visible.