[Michael Paul]

Unless you can figure out an economical way to strip the TC out of the SDI feed and convert it into standard SMPTE Timecode, then no, it doesn’t help you.

The sound Devices PIX240 will accept TC through the SDI feed, but that sort of eliminates the need for the HD-P2

Michael Paul
Location Sound Corp

[Michael Paul]

I don’t think the BMC outputs SMPTE Timecode, so you can’t sync directly with the camera.

Plural Eyes is your friend.

Otherwise, you could try the “poor man’s timecode” method of running an external TC generator into the TC Input of the HD-P2 and into one of the audio inputs of the BMC. Bring the video files into Avid MC and use a feature called “Read Audio Timecode” to create a virtual timecode timeline which you can then sync your imported wav files into.

Michael Paul
Location Sound Corp

[Michael Paul]

The issue is that WAV files, by definition, are limited to 4G size on 32-bit systems. It may be possible to open and play the file on a 64-bit system using a 64-bit application (like Sound Forge)and converting it into a W64 file, or using that application to split the file into smaller parts, but I’ve never tried that so I don’t know if it will work.

You stated in your original post that you recorded at 48K/32-Bit. Are you sure about the 32-Bit setting? and if so, why?

A 5 hour / 2-track recording done at 48K/24-Bit would yield an approximate 4.83G file, which is still too large. Dropping it down to 48K/16-Bit would get you to 3.2G, which should play on anyting

Try going to http://www.sounddevices.com and look for a free download application called “Wave Agent”. It has a utility built in that will split polyphonic files into separate monophonic ones. You’ll end up with two files (one for each track), but the file sizes will be half (3.5G?) of what the original was.

Michael Paul
Location Sound Corp

[Michael Paul]

You’re going to have a hard time finding 8 channels of wireless with headset mics for that price.

Entry level systems from Shure or Sennheiser start at around $450 per channel (and you need eight)

Maybe look at Azden or Audio Technica, but remember that you need to get 8 seperate channels that have to work together so if the system you’re looking at is a fixed-frequency unit, you need to make sure that there are 8 seperate pre-coordinated frequencies that you can get, and that those frequencies will not only work without interfering with each other, but that they operate on frequencies that will not get stepped on by local TV broadcasts in your area.

Most UHF systems these days are tuneable, so you can create frequency groups that work where you are, but there are no guarantees.

You could look into used units to maximize your budget, or rent wireless until you get called up by Lorne Michaels

Michael Paul
Location Sound Corp

[Michael Paul]

You might be running up against the old 4gig file size limit.

Basically many legacy computer operating systems limit the size of a file that it can either create or read. It goes back to older Windows systems and relates to the size of partitions on a FAT16 formatted volume. While technically, file sizes can be much bigger, it’s best to keep to this simple rule:

Never create a WAV file bigger than 4Gig

If you can find a program that will open it, and that can split it into smaller chunks, that might work. Or if your original recording device can still play it back, then you may have to play the file out of that device in real time to another recorder, and split the file manually

Michael Paul
Location Sound Corp

[Michael Paul]

On the left side of the 442, you will see two small rotary pots (on the bottom right hand side). These control the return levels for returns A and B.

Michael Paul
Location Sound Corp

[Michael Paul]

My guess would be they’re looking for a WAV file, like you suspect.

As for the sample rate, 10025Hz seems like a misprint and what they mean is 11025Hz. I don’t think there is any wiggle-room in the WAV spec for 10025Hz.

If you can’t get ahold of anyone who wrote the spec, I’d just go with 16-Bit/11025Hz WAV file.

Somewhere in the bowels of a government building, a disinterested functionary in the Dept. of Assembly Instructions and Recording Specifications is typing another Spec Sheet for your next job.

Or maybe I’ve just seen “Brazil” too many times

Michael Paul
Location Sound Corp

[Michael Paul]

The Fostex AD12-1300 Switching Power Supply that was offered for the FR-2 has the following specs:

Output: 12V @ max 1300mA 15.6W

So, something similar should work. Make sure the power supply you get can supply enough current. The FR2 can accept 8V-18V externally, so look for something in the 12V-15V range.

The connector should be wired as center-pin: positive

Michael Paul
Location Sound Corp

[Michael Paul]

Well, the first thing to do would be to plug some headphones into the Monitor jack on the bottom of the receiver. See if it sounds distorted there. If so, your problem is with the wireless, not the camera, and you’d want to check the gain settings starting with the transmitter.

With a mic plugged into the transmitter, adjust the Audio Input Level (in the Menus)so that when speaking into the mic, you get an AF indication on the receiver of no higher than “0”. The default setting for the AT transmitter is usually “+6”, but you can set that lower to either “0” or “-6”.

Once that is done, and you aren’t hearing any distortion at the receiver through your headphones, set the output level of the receiver to match the input level that the camera is set to receive. Also, if you are using CH1 of the receiver, make sure the Output Select switch on the bottom of the receiver (for Output A) is set to “1” and not “Mix”. Same goes if you’re using Ch2.

Turn the rotary “Receiver Level” knob for the channel you are using all the way down.

Make sure the Camera is set to Mic Input, and that any Automatic gain function is turned off. Phantom power, like I asked before, should be off. Plug your headphones into the camera, and adjust the gain so that you get a good level. There might be a little triangle marker on the camera’s meters, and you’ll want to have your audio peaking right about there.

If none of that helps, try simple things like a different cable between the receiver and the camera, or a different mic if you have it

Michael Paul
Location Sound Corp

[Michael Paul]

You have the 48V Phantom power on the camera turned off, right?

Michael Paul
Location Sound Corp