GaryNattrass

Used a CT100 for many years on the broadcast circuit for Premier league footie and all sorts of OB's inc London 2012 and Sochi 2014 and whilst it was a good low cost cable tester it was used more as a tone ident source with a unique square wave type tone.

Probably better not to use an insert for a reverb as it will only work on the channel where the insert is.

 

An aux send is more flexible and will allow you to feed multiple sources to the reverb and then bring it back into the mix on a stereo channel or aux return.

I think he's referring to the transmitter blocks that plug into the xlr on a handheld mic. They have a locking collar on them.

 

Ah yes my bad and apologies it's been a while since I dug my G2's out.

 

 

 

Thanks for the clarification, Stuart.

Sennheiser manuals say almost nothing about it, so that was useful. Oddly enough, I have a small Hill Audio RM system (http://www.hill-audi...roduct/wmu-216/) working on Ch70 and the Senn G2 receivers pick its transmitters up perfectly (with pilot tone on). No chance with the old AudioTechnica, though. Those SKP100s are nice to put on a better sounding mic, though the scew collar is useless unless it's paired with one of the very few that take it. I am using a bit of tape to help keep them on because its all a bit like having a brick tied to a milk bottle. Good kit, though (you might have gathered every penny is a prisoner with me).

By the way, I must praise all you contributors to this message board. Excellent answers with expertise and experience very evident and also tremendously quick. Not condescending either (which I take to be a real sign of professionalism).

Much appreciated.

Thanks.

Keith.

 

 

You can buy the locking jacks off e-bay if that is what you mean and I have fitted several for low cost back-up mics that may get trashed: https://www.ebay.co....J8AAOSwB09YSwEN

Try turning off the pilot tone on the G2 receivers and I don't think the G1 or early transmitters use it.

Is still have a BENQ DLP projector and had my first one when I had a Soho dubbing theatre in the late 90's.

 

The current one I bought for my pub in 2006 but it is still going strong and has been very reliable.

 

Not sure of the model but found this one on Amazon so presume it is the latest version as it looks the same: https://www.amazon.c...la-880936966798

 

P.S just found the video I did of my Soho facility in 1999 and the screen image is around 2min 40 in:

I just put some LED corn bulbs in my old redhead lights.

 

Ok they are no where near as bright as the 800w tungsten bubble but they are also cooler so you can get them a lot closer to the subject for interviews and be more direct with the lighting.

 

Being a lazy type and for speed I used to just bounce a couple of 800w redheads anyway so with daylight colour temp LED's it is a lot easier.

 

I also got some smaller LED for my old pag lights as modern HD cameras don't need as much light these days and I got a couple of very small LED panels recently as they are good for backlights.

All thanks to your mum spotting that advert in the local paper ;-)

 

Ha ha still in touch with my old boss John Overton who gave me the job and all those home disco's and self build lights and sound stuff we did in our garages helped me a lot!

 

Memories too of G4AAX and that huge horn speaker and your 3 watt radio amp was cutting edge at the age of 12.

I did the some of the TV sound for that gig if it is the one currently on SKY arts.

 

Can't remember anything about power outage but there was a huge TV screen rigged above the stage and maybe they just ran out of power.

 

One other thought is that the lights just may have been too much for the cameras (Marconi mk 9 and Sony hand held Tube cameras) or continuity as we had 16 cameras out and recorded both the Friday and Sat nights.

 

Sadly the two main guys who would know more Director Gavin Taylor and Editor Andy Mathews are no longer with us but I recall Gavin saying that it ended up being a bit of a nightmare as it was all recorded on one inch Sony C format reel to reel video and with 32 camera sources from the two nights it took over a month just to view all the footage.

 

Oxford scientific films did the time lapse of the stage build and personally I didn't like the video as there were too many angles and camera cuts so you never got to concentrate on the music and they became a distraction.

 

I was sat in the TV truck for the Sat night but also got to walk on stage with them carrying a portable one inch Sony video recorder on the Friday night. I think the Stones mobile did the multi track sound recording and we did the post back at Tyne Tees in Newcastle.

 

I have the CD and DVD but as I now work for SKY it is amazing that a TV programme I did in 1986 is still on air.

 

It was all done by us at ITV Tyne Tees TV as our reputation with CH4 The Tube got us a few extra gigs to do such as U2 at Red Rocks, Eric Clapton, Dire Straits etc and later The Stones in Barcelona for SKY in 1990.

I guess it uses the graphics card to do it as that what seems to happen on mine.

OBS has a compression plug in audio filter and it seems to do a pretty good job of keeping things under control.

As a side note anyone getting into streaming may be interested in checking out this company, I recently got this device for my test IPTV project: https://www.tbsiptv....der_and_decoder

 

They also have a UK distributor and the software is very comprehensive, they also offer lower cost encoding options if you don't need NDI or H265: https://www.pciex.ne...s/hdmi-encoders

I just bought one of these for my IPTV project and it works a treat and is cheap as chips

https://www.ebay.co.uk/itm/4K-Full-HD-4-Way-Amplifier-For-PS3-TV-Box-HDMI-Splitter-1-input-4-output-1080P/383675670265?_trkparms=aid%3D1110006%26algo%3DHOMESPLICE.SIM%26ao%3D1%26asc%3D225076%26meid%3D96c40cbca7a44e699432094e758f15d5%26pid%3D100012%26rk%3D1%26rkt%3D12%26mehot%3Dpp%26sd%3D383653658981%26itm%3D383675670265%26pmt%3D1%26noa%3D0%26pg%3D2047675%26algv%3DSimplAMLCvipPairwiseWebWithBBEV2bDemotion%26brand%3DUnbranded&_trksid=p2047675.c100012.m1985

Try adjusting the encoder settings in output for recording and I personally have found that on my mac using a hardware encoder helps and keep the bit rate for streaming and recording down too:

I have a Three 4G mobile router on my boat that costs me £17 a month for unlimited data:

 

It also has the ability to run diversity external antenna and as it is a full router you can connect via ethernet rather than USB so it may be worth checking it out and here on my boat in London I get huge bandwidth with just the local paddles on but I could run a couple of cables outside to an external aerial.

 

We use the full Live U and Terradek at work (SKY) and generally get Ok coverage but it all depends on the networks and a cross at half time in the old days of full crowds at sports events was a defo No No.

 

But then an emergency report post a terror attack done on an I-phone can give great results with very good HD video and sound.

I think they probably but a limit buffer on 4G upload to prevent people from using it to broadcast with also the date is probably sent in packets rather than a constant stream so at some point the buffer will fill up and grind to a hault.

 

Most of the pro 4G set-ups have multiple sim cards but even they can struggle at times.

Managed to get the last one on the shelf at Staines today so thanks again for the heads up as it looks nicely made and very neat.

 

Perfect for my boat as it can charge via USB from my on board 140ah 12v battery.

Thanks and will try to get a couple of these as they will be ideal for home and my boat.

I have always found that Mr Sheen is good for dissolving glue residue.

Sounds pretty good to me and I have heard a lot lot worse.

 

Was the behringer unit this one and I have heard that it is quite good but a high pass filter may be all you need to cut off the LF at around 120hz.

 

https://www.thomann.de/gb/behringer_shark_fbq100.htm?glp=1&gclid=EAIaIQobChMIqbDasL6f7AIVyuvtCh3YQAaEEAYYASABEgJ0tfD_BwE

They don't it's fake and a set-up just like the rest of the show!

 

Run in some cheers and clapping off library and there you go!

 

Shock horror the football crowd is fake too but they don't bother with any green screen video stuff

 

Stuart91

 

 

Does input 1 also set the conversion for inputs 2-4 so if you put a laptop running at a weird rate it will try to re-sync nputs 2-4 to match it?

I thought that input one could be used to define the sync and other default settings so using it for a PC or Mac would not be a good choice?

 

Just about to the the mini pro iso so look forward to playing with it.

These are pretty good value on e-bay :

https://www.ebay.co.uk/itm/YT-260-Motorized-Pan-Tilt-Tripod-Head-with-Remote-Control-for-Camera-Phone/324085912307?_trkparms=ispr%3D1&hash=item4b750692f3:g:mVsAAOSwF7xeV5wh&enc=AQAFAAACgBaobrjLl8XobRIiIML1V4Imu%2Fn%2BzU5L90Z278x5ickk5v8gVt3hEWLVg%2F253w6XCYbNiwUlmsyAjIfy9kALB10gsX%2F8RtDbbo0Yi0V3Hxsk7DbYqgo0mCBJxaMu4GyG0hb%2BKXB0GbsJ8mVtl73QXOx0%2BZOBGIQYDC9HWnIS%2B9TlFvIkrPhi4Dg9k5TYLSz1QXiY%2Bl0mseSwPe0avzHGdlfkIU6eGbQNQwHvU1cpj7XeVWPF96MA7KM%2Ffls03aquK6YwI12Uv3PAvyAuPArBre%2F%2FL36qWiLqCrP1Ww2JharALYgJJVVNLzyOOWZeGqgcD24qMYLfwGP8v6z3aOTIqhonKRxbIvob4XY8C9VDLfOMsMdo6v8XfZsVQym5kkozM%2Fx7eQgeKvh6ma%2Fx7g0zcUP2QbNrgAum2RIVnyLmUdYJdiMmAKOV15ztFhqCup1Yf2ukGXJJwse2sEPYHAgUaJPHxUalDzU3rLwxgjVNag0VlKc8pame07YefqN%2BzC%2BcEtJX1vp9SmbGORaphhCzbVHcs80bh7CYDM1u11v3lvwu74SJsrxuDkT%2Fu7N8J95NtiEYIeN9IhcKK2NdBA8Veor6YtEiIGKTvXUT%2FMZq1EfupDceWMKGg%2FzEPHcYaR7MtBghan7OPZZ1vYlQ%2FBagkfSwxWwWoqHd2szWkglmsRg3yyIMVctMSz1OZlSJcImH4N71p%2F%2BkrMvR9002Zmpidc7zLYwSKc9yWc20E6x0UiYn5By4FVdLKeqguoD3OFIESLwhHtw%2F2p4dBxSuC3GOf0tOACfT9SwieWRpKw1jRLvO9krpR%2FimQ8frREdGniFVB%2B7VlEINJBZkf2XH6bp66tk%3D&checksum=324085912307dc147a5a93dc4914b972673e459b9995

Ha ha I ended up buying the HPX371 myself as I already have an HPX301 so it will match.

 

Immaculate camera and bargain so looking at an ATEM Mini Pro ISO now to set up a multi camera small streaming set-up as I have most of the other kit needed already.