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DCHT & M2R


jwill
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Just took delivery....manuals aren't that helpful to get you up and running! Watched a few video tutorials

and they too lack real world gain staging situations. One says to switch mixer out put and DCHT to AES and put M2R at a gain of 30, I did and  i got no signal

to the FS-7 set at line level...when I switched to mic level got a signal when I sent tone ...but not to minus20 unless i cranked the pots on the FS-7 which caused a noticeable hiss....I kill tone and open mic and its all hiss. My setup has the DCHT set to line and gain at 35 and M2R set to 100 and the FS7 at Line level....good and clean minus 20 tone and FS7 pots half open! Mics sound good too....Im guessing 1 a 100 setting is line level? Manuals don't really tell you!

 

fullsizeoutput_6561.jpeg

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Looks like a great solution for a camera link, but 2 things scare me. The unlocked mini connecter, and the giant blue knob which I assume is for adjusting the output level. Maybe I am wrong about that, but it looks like it's waiting for an inadvertent adjustment by the camera operator. A locking input connecter would be nice too.

And it was able to drive the line level input ?

Looking forward to further reports as to real world usage. Thanks for posting.

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10 hours ago, Rick Albright said:

Looks like a great solution for a camera link, but 2 things scare me. The unlocked mini connecter, and the giant blue knob which I assume is for adjusting the output level. Maybe I am wrong about that, but it looks like it's waiting for an inadvertent adjustment by the camera operator. A locking input connecter would be nice too.

And it was able to drive the line level input ?

Looking forward to further reports as to real world usage. Thanks for posting.

The knob can be locked out via the menu and its only function then is on/off.

When its enabled it will act as HP volume in an IFB/IEM situation.

I ran DCHT at 35 and M2R at 100 and it went to FS7 set at line level at -20, FS7 pots half open.

Further experimentation needed!

Snart scan works like a charm and it lasted 7 hrs on lithiums!

 

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The headphone amp is very good they can drive some inefficient IEMs and phones so Line Level should be no problem - if you are going into the TX in AES then there is no level adjustment on the TX from what I remember. You must check the mixer / limiter settings on the RX because those are more for IFB functions i would leave off for a camera hop.

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The 1/8" thing on the Rx ain't great. I use a RA jack, and tape it down with some gaff, but I feel that is a bit of a hack for such a lofty (price tag) piece of gear. 

 

The gain statin is weird. It *should* have very strong line level, it being a headphone amp and all. But it does not. I find I have to crank things on the unit and the camera to the point of a large noise floor. So I usually have to put the camera to mic level, and then I'm at the other side of turning things down farther than I would like, again not in the sweet spot for noise floor.

 

The screen on the Rx is amazing! The screen on the Tx is appalling.

I sure wish they would make a Tx that has a TA6 on it. And I hope that we can spit out AES, and they keep the nice large screen.

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Sadly Ive gone back to using my zax hop, my line setting with MR2 is fine with c300 but too low for sony line in, ive found the MR2  noise floor is very audable if feeding sony's at mic level ..my DCHT and MR2 currently back in the box til i can figure out a usuable setting with Sony's..borrowing an fs7 to do some controlled tests..

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Hopefully this info is helpful. I had sent gain structure info to John Williams and he reported back: "I did use your ideas on the gain staging and it works like a charm for the Sony FS7."

 

Here's what I had suggested: 

There is no "danger" to running your receiver at 100 output level, you may be adding noise that could otherwise be avoided. We believe the issue to be that the Sony FS7 camera line inputs do not like an unbalanced source (the M2R).

Thus, for this camera, we recommend using the mic inputs instead, as there is then plenty of level.

For gain staging, I would suggest setting up the transmitter as you have done previously (Sound Devices 633 outputs at Line Level DCHT set to Line….DCHT gain at 25), then for an FS7, choose mic inputs, Phantom +48 off (Phantom blocking cables recommended as a backup), the M2R receiver audio level set to 75, then turn your camera audio input gains up (or down) until you get the desired meter defection (usually -20 DBFS).

You are already likely doing all these things but for camera hop use, we recommend the following settings in the Limiter menu:

Threshold: OFF
Gain: +12 dB
Audio taper: Linear

 

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  • 2 months later...

Hi all,

 

I'm very interested in this system. I love the idea of having 1 transmitter sending a mix that can be used by a receiver for a camera hop as well as listened to as an ifb. 

 

However I just discovered it's bandwidth limited to 12khz.(or there about) 

 

Karl is there anyway to disable the LP filter? Can't seriously consider this as a camera hop without it. Considering the digital transmission...is there a way to output a full bandwidth, aes signal from the receiver?

 

Thanks in advance 

 

Trev

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Hi Trev,

 

The 12 kHz upper boundary is a function of sending two audio channels on a single carrier. Users who have this system do not consider it a limitation, as the frequency response is flat, and the sound quality is quite good. If you have a way to listen to it before deciding either way, I think it would be worth your while.

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Hi Karl, 

 

Thanks for your reply. 

 

If the bandwidth limitation is a function of sending 2 channels, would it be possible to send a single channel mono full bandwidth signal? 

 

This would make it better as a camera hop in my humble opinion.

 

Trev 

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