Ty Ford
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Audio Coins
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COW Coins
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Their price point makes me think they are prosumer. That and I think I would have heard something had they been targeting the pro sales channel.
Hopefully? A D50 is a lot to spend on “hopefully.” I’d ant to try before I bought one to make sure when I imported the audio that it would work on the timeline in sync situations.
The UWPV1/4244 wireless kit looks interesting, but I haven’t heard a peep about it. Part of the problem is that Sony is so big that their audio stuff sometimes gets eclipsed. The pro audio stuff can also be a bit pricey. Years ago the price difference between a Mackie 1604 and the equivalent Sony mixer was pretty big. Rumor was that Sony dealers would use the mixer as a deal closer for a video sale, as in “buy the video editing suite and we’ll toss in a mixer for free.” Not a bad strategy, but it does marginalize the audio.
I still use Audio Technica U 100 wireless. They got used a lot, but were never considered as cool as Lectro, Audio Ltd, or Zaxcom. I’ve had the chance to compare them and the Audio Ltd was the only one that sounded better. So go for it and see what you can find out. Then please let us know.
BTW, you can hear the U 100 with Countryman B6 mics in this pre-vis.
https://idisk.mac.com/tyreeford-Public/HotFlashMovie.mp4When the kids come in to ask where mother is, Dad’s wearing one.
Mom on the john.
Friend as they walk out of the front door’
Wife as she walks to the convertible
Mother as she walks past the bed.Regards,
Ty Ford
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Hello Craig and welcome back to the Cow Audio Forum.
I don’t know how long these have been out but I haven’t heard either. I haven’t heard anyone in the location audio community mention them. There, Sony doesn’t pull much weight with their shotguns. Not sure why. I’m sure you’ll see Sony mics on Sony cameras as part of a “comes with” deal, but that’s a bit different.
Regards,
Ty Ford
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Leigh,
Back through Chuck Surrack who owns Sweetwater came a contact info for Jason Koons over in Indiana. See below. Chuck says Jason knows that machine pretty well.
Jason Koons – Senior Sales Engineer
Phone#: 800.222.4700 x 1389
Phone#: 260.432.8176E-mail: jason_koons@sweetwater.com
Sweetwater Sound, Inc.
5501 US Highway 30 W
Fort Wayne, IN 46818Please let me know how it turns out.
Regards,
Ty Ford
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Hello Kaye,
Supposed? Well lets just say many entry level folks don’t use a mixer between the mic and camera. Once they get into it a bit they realized how useful (and important) a good mixer is.
The Sound Devices MixPre you have a link to is very good, but only feeds line level. If your camera accepts line level, then you’re good to go. If it only takes mic level, then the Sound Devices 302 does mic and line level.
A good mixer won’t eliminate room, wind or ambient noises. Those problems require other gear and techniques.
Good reasons for mixers…
1. They let you vary volumes without shaking the camera or getting in the way of the camera op.
2. You may need to do that a lot with some people. I ride gain even if one person is talking if their voice fades on the end of each line. You can only do this in a relatively quiet environment, otherwise you bring up the ambient noise.
3. Mixer preamps (good ones) sound better than camera preamps.
4. Good mixers have input transformers that scrape off RF before it get into your audio.
5. Good mixers have limiters that allow you to record hotter, keeping your audio further above the noise floor without distorting.
6. Good limtiers have EQ that lets you roll of LF HVAC noise before it gets into your audio.
7. Good mixers have mulitple outputs so you can feed more than one camera, or separate recorder simultaneously.
8. Good mixers make your sound better. If they didn’t pros wouldn’t use them.Regards,
Ty
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Hello Leigh,
I have a call out to see if I can find someone.
Regards,
Ty Ford
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“Thanks for the advice. The time adjustment thing is really freaking me out. I can line up the beginning and the ending, but there is still drift in between. Correcting for the end pushes the earlier parts ahead of where they should be. Then adding time back to the early parts pushes the later parts out of time. If there is a magic setting it’s at a decimal place that’s less than 1 frame.
> Yup. You’ll have that sometimes.
I’m able to get single songs to work, but it’s an ungodly amount of work considering I thought I’d be able to line up the beginnings and have everything fall into place. With this problem even a slate or a tone pop wouldn’t help, as somehow the audio is literally at a different speed.
> Yup and if you had used another recorder, you might have lucked out…or not.
How do they film live bands? Usually they’ll want the audio to come from the mixing board.
> Just as you have with two circuits that are closer in time than you’re trying, or they use a master clock for both audio and video to lock to. Sometimes wordclock.
I’ve done some sync before where I lined up a beep with a red flash on the screen, then everything fell perfectly into place. would you need a camera that can send or follow sync from a workstation? I’ve seen film sync with analog tape, if that works why on earth would digital be drifting so badly?
> minute (small) differences in the individual clocks.
Is it typical for MiniDV camcorders to run a bit fast or slow? I was thinking in the digital domain 60 seconds should be 60 seconds. I’m alarmed to think that either my audio workstation or my camcorder is running fast or slow. The audio workstation is clocked to an ADI-2 via ADAT, so if anything I’m thinking it’s the video camera. I was hoping this would just be a sample rate thing. I can’t seem to find a way to alter the sample rate and have it affect the length. Everything I try seems to want to preserve the length… ”
>>Hm, Pro Tools has time compression/expansion.
Regards,
Ty Ford
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Hello Wesley and welcome back to the Cow Audio Forum.
There’s an old oriental saying, “Man with one watch always knows what time it is. Man with two watches never does.”
In this case your audio was recorded on systems without syncing them. While you can sometimes get away with it, there are times (like this) when you can’t. My best solution is to keep trying time compression on the long one until you hit the right number and get close enough.
Maybe do the math. If you’re 8 seconds long after 60 minutes, what percent of 60 minutes is 8 seconds.
Maybe there are open spaces in in the hour where you can tighten the long track enough to make it work for a while.
Regards,
Ty Ford
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John,
Do you absolutely need a digital mixer?
If not a Allen and Heath Mixwizard may suffice.
For multitrack recording, how about BoomRecorder on a Mac?
Regards,
Ty Ford
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Hello John and welcome to the Cow Audio Forum.
What kinds of things do you expect to record?
Regards,
Ty Ford
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and the answer is…..
To use the SR-DVM700 as an ingest converter for analog composite,
component or SVHS devices such as cameras and VCRs via firewire to a
typical 48kHz audio timeline, make sure the DVM700 is set to 48 kHz,
16-bit audio. To do this you need to connect a video monitor to the
output of the SR-DVM700 to enable onscreen monitoring. Using the RM-
SSR004U JVC remote control, press the DV button at the top left on the
remote control, then the SETUP button on the bottom right of the
remote control. This will bring the DV SETUP screen up on the video
monitor. Make sure the DV AUDIO REC setting is 16-bit and not 12-bit.Want better production audio?: Ty Ford’s Audio Bootcamp Field Guide
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