Michael Martin
Forum Replies Created
-
“But in the long term, the AES digital recording is more efficient to save time in post syncing. ”
Aside from being a digital signal I wouldn’t say AES is more efficient for post sync, AES doesn’t transmit timecode in any production equipment that I know of. Zaxcom devices use Zaxnet to transmit Timecode to TRX transmitters and ERX receivers making life easy for post and I think maybe this is what you are referring to.“I don’t know of any 2/3″ cams that have AES input.”
Sony F5 and F55 off the top of my head use AES.“Is it possible to simultaneously send the AES with a separate RX to the Nomad 12 and a QRX-200 mounted on the cam?”
It’s sort of incorrect to refer to the signal as AES, a Zaxcom transmitter sends a digital signal to it’s receiver but AES is only the interface and protocol when interconnecting devices. Yes, one can send a signal to multiple devices at once, it’s as simple as dialing in frequencies.“Would you say the Nomad 12 and the SD 688 both have similar core features ?”
They are very different machines designed to do similar work. I own Zaxcom so I’m biased but the flexibility of routing, 8 digital inputs and 4 outputs, Neverclip on the analog mic pres and Zaxnet make the Nomad a no-brainer. I work on reality productions where we have to run over 12 recording transmitters working at once and use ERX IFB receivers for camera timecode and scratch audio. The ERX can store multiple frequencies so I can walk to the camera op, dial in my transmit freq and the transmitters around me now I’m rocking a mono mix to camera. Both machines have auto-mix and I know compared to the 788 the Nomad has better control, I’m not sure about the 668.“Are Zaxcom Nomad recorders’ pre-amps up to or better than SD 7xxx series?”
The 788 preamps are really good but the Nomad’s pres to my ears are equally as good sounding but have the benefit of Neverclip which can handle much higher SPL. Even the Zaxcom transmitters can handle extremely high SPL’s, I’ve recorded race cars with a TX and an SM58 in the trunk getting no distortion.Ultimately it’s up to you to try each machine and see what works for you.
-Michael Martin
Martin Media Company LLC
Location Sound/Audio Post Production/Sound Design -
My understanding is that any compression or happens before the A/D conversion. Glen still claims “Neverclip” in the TX but It’s not exactly the same as on the full blown machines like the Nomad and Maxx, it will always compress the very last -3dBFS to work it’s magic. It is however more seemless than any other type of TX when dealing with overload or clipping. To quote Richard Miller “Neverclip in the transmitter gives you headroom for the compressor to work with to keep your audio below 0dBfs for transmission, rather than transmitting audio that has digital clipping.”
-Michael Martin
Martin Media Company LLC
Location Sound/Audio Post Production/Sound Design -
If you want absolutely perfect signal digital is the best way to go. I run an all Zaxcom kit from the TX to the RX and AES into my Nomad recorder, in a single analog gain stage. A time code stamped recording from a Zaxcom recording transmitter is the next best thing with 24/48 quality recording in one gain stage.
-Michael Martin
Martin Media Company LLC
Location Sound/Audio Post Production/Sound Design -
+1 on Oscar Sound Tech. I own 5 of the TL-40 and 1 of the 801’s, for around $120 each they’re a great deal and they blend well with a boom, given the right situation.
-Michael Martin
Martin Media Company LLC
Location Sound/Audio Post Production/Sound Design -
If you know someone who owns that particular mixer I’d try that out first and make sure you get what you’re looking for, I had the older version of the 2442 (no USB) and I didn’t have any issues with it but I was recording to an analog 4-track and used it for a PA. As far as I can tell though it looks like the 1222 only does 2 channel recording via USB and I can’t find specs as to bit depth or sample rate for it’s converter though it says the fx processor is 24 bit this doesn’t help, I would make sure you can at least do 24bit/48k. One other thing to consider is whether you will be upgrading in the not so distant future and if the mixer fits into your upgrade path.
My preference for VO or ADR is to record as neutral and clean as possible and then tweak it in Pro Tools. I’ve found that in many cases using quality plugins to be just as effective if not more flexible than using a hardware eq or compressor, although I do like the feel of using hardware I’m pretty much used to doing without now. It looks like you have a decent system and I recommend using it’s potential in that regard, you can always change your eq and compression later with plugins.
BTW, there are other versions of the Scarlett that have less outputs but the essentials are the same and go for less money if that makes a difference.
Good luck.
-Michael Martin
Martin Media Company LLC
Location Sound/Audio Post Production/Sound Design -
Hi Tony,
I think the first question should be what is your budget? You didn’t mention recording anything through the mixer so it sounds like you are using it purely for speaker control. I can tell you that I have owned an mbox 2 mini and it sounds just bad compared to newer interfaces and more so to dedicated sound cards, the mbox converters and preamps compared to the newer generation are no comparison just upgrading to the new mbox pro will get you the same converters as the Apogee interface line.I have 2 setups, the first is great for mobile and relatively affordable, the second is more expensive but doesn’t have to be.
1. Focusrite Scarlett 18i6 $299 USD, this USB device sounds pretty decent with it’s preamps and converters plus it has 6 outputs for either surrond or a-b-c speaker selections. It has a separate level control for monitor and headphones. The Scarlett mixer application that goes with it allows you to create routing preferences so in this case you could just select a different routing preference for different speaker selections or you can setup a cue mix for if you are recording.
2. My second setup is a permanent installation in the studio which includes a Lynx AES16e card attached to a Symetrix Lucid 88192 converter attached to a Sound Craft GB2R-12.2 for multi tracking and boutique pres for solo recordings. The monitor outputs from the Lynx card are controlled by a JBL MSC1 Monitor Controller. This configuration is more complicated but more flexible. This configuration is nearly $4k.
I don’t use a control surface I use an Intuos tablet, it just works better for me when doing sound design and editing.
-Michael Martin
Martin Media Company LLC
Location Sound/Audio Post Production/Sound Design -
I personally use the akg k702s if i can’t use monitors the dynamics are amazing and they are really honest, like my focals. They are open back so they might still bug your pesky co-workers. I mainly mix film and TV. I second the ultrasone’s because of the closed back style and i know many production mixers who use them on set.
-Michael Martin
Martin Media Company LLC
Location Sound/Audio Post Production/Sound Design -
i use pro tools for post work but due to the short notice at which i usually have to respond its not efficient for me on set, i work off a mobile cart with my mix bag and i can just strap the bag on if i have to get into tight areas. i know of a few mixers who offered services to record direct to pro tools and even fcp but it turns into a hassle and they eventualluly went back to the field recorder. besides there isn’t much advantage when recorders do timecode and the editor will be chopping up your hard work. Plus fcp doesn’t even import omf’s which would be a plus if that became part of the fcp work flow.
-Michael Martin
Martin Media Company LLC
Location Sound/Audio Post Production/Sound Design -
Hi Jim,
I just listened to your click, is it the sort of clicking sound? I do a lot of NR and clean up but in this situation the sounds is no really isolated or sustained. You can try RX2 spectral repair which works really well but you need a sustained tone to make it work for you. You also could try a little eq notching on those frequencies to reduce it. Some times you have to embrace what you get and not mess with it, that’s what I usually do in production audio and was thanked for it.Good luck.
-Michael Martin
Martin Media Company LLC
Location Sound/Audio Post Production/Sound Design -
Hi Rich,
I want to check with you to see what you are attaching to the Kona3, as you may or may not know the Kona 3 handles digital audio only. If you don’t already have a AD/DA converter you will have to get one to get the analog signal of your mic into the AES digital input of your AJA. My company builds turnkey post systems that use the AJA Kona 3G and Lucid AD/DA converter, this is how I know this. As far as Mics go the TLM 103 is nice but a little bright. You can’t go wrong with a good ole Neumann U87 and a clean preamp which most post houses use the Avalon 737sp. If you’re on a budget I can suggest some great alternatives as far as mics and preamps. As far as the AD/DA converter goes there are a ton on the market just don’t go too cheap, a converter is one of the most overlooked components when it comes to good digital recordings, Apogee makes some affordable and nice sounding ones. Lastly, if all you’re doing is recording VO then Adobe Audition will be fine but if you have to mix, do ADR and edit, Pro Tools is my recommendation for post flexibility.-Michael Martin
Martin Media Company LLC
Location Sound/Audio Post Production/Sound Design