GaryNattrass

I was once told that Sir Elton's piano was so loud in the wedges that the soundies could not sit in front of them to check the piano.

Probably the same sound guy except 16 years on he is deaf?

I agree with the above and Canford have this on their site but for all my TV and Film kit it seems to be pin 1 and 4.

 

https://www.canford.co.uk/Technical/Article/XLR4PinWiringConvention

Use a 4 pin XLR as that is widely used in film and TV for 12V PSU and battery feeds. My Panasonic P2 camera has a 4 pin XLR external PSU input.

 

Pin 1 ground

Pin 4 12V DC

1-1.5 sec is pretty good as at SKY here we usually have around 1.8 sec for most external video, we can get it better by lowering the buffering but the risk of breakup is greater and if we are sending recorded items we set the buffering up to 3 secs.

As a former publican sadly most real ales are dispensed using C02 driven engines, the C02 doesn't get put into the beer as real ale should produce it's own C02 but it is used to assist with a gas operated pump on long lines.

 

As for fizzy conglomerates also sometimes called beer they are flat as a pancake in the keg and gas is added to bring them to life.

 

Really nasty conglomerates such as anything with smooth in the title or with a creamy head such as the black conglomerate from Ireland they are brought to life with a nice bends giving mix of C02 and good old nitrogen so if you drink a lot of it that is why you get a bad head.

 

One really really nasty conglomerate with a female name starting with St known as wife beater also uses a nitrogen mix to really turbo charge those brain cells.

 

For the purists drink cider or if possible scrumpy straight from the cask as like real ale it has pretty much nothing added and is naturally gassed through fermentation, as a side note you also absorb the alcohol through the stomach and that is why it goes to your cranium quicker but is also better for your liver.

 

As for me I will just stick to my pints of wine thank you!

 

My Takstar Cm60 and 61 mics are very similar but if you want the real deal they are still available: https://www.anderton...ASABEgIPmvD_BwE

 

Great mic on acoustic instruments and I used to have two but sadly they got stolen.

 

On offer as a pair here: https://www.gear4mus...AiABEgLryfD_BwE

 

and yes the CK1 and CK2 had a slip on metal pop shield which is what you see on TOTP but then they did the CK5 integrated capsule with the pop shield later.

Just found the full list of mic heads on Gearsluts:

There are several capsules for the 451, including the CK-1 cardioid, CK-2 omni, CK-3 hypercardioid, CK-4 LDC, CK-5 (cardioid vocal head), CK-6 bi-directional head, and the short and long shotguns (CK 8 and 9.)

Defo an AKG 451 but I think the short ext tube was the VR1 and the VR2 the longer one.

 

A modular mic system with cardioid and omni capsules CK1+2 with a third that was the cardioid fitted fixed within the mesh windscreen CK6, there was also a long CK9 shotgun too.

 

They were available in silver and black over the 70's and 80's and we used them a lot at Tyne Tees TV. The later ones had a high pass filter and -10db pad fitted in the mic amp end but still used the CK1 etc capsules.

 

You could also get knuckle joints to angle the capsules and an in line screw in -10db pad.

 

I suspect the ones used on vocals in the 70's were the omni capsules or cardioid with -10db pads fitted.

 

They were replaced by the AKG 460 ser and Calrec had a copy modular system that was larger with the 2010 and 2050 mics. They were looked after by the late Keith Ming and became Hebden Sound. You can still see the gold plated ones by the Queen at the state opening of Parliament.

Yes I know balanced line level and mic level will go a long way but in broadcast we use screened star quad to transmit it with audio connectors such as XLR and military multi pin amphenols not a telephone connector.

There seems to be a drive towards using domestic and telephony based connectors these days and whilst it may work I personally would not be using such connectors for any critical interfacing that may get damaged in use or worse cause interference or potential faults that could affect a critical piece of kit.

I am seeing all sorts of telephone connectors being used for pro digital interfacing including the ISDN and com boxes I use on major sports events and I tend to find that I have to be very careful in protecting them or make them more robust with the addition of cable ties or tape wrap.

I also question some of the fibre optic connectors that we are being forced to accept but that is another story.

 

The 15 min quote is a tribute to Andy Warhol by the way.

and here is me thinking that we had come a long way from using bell wire?

 

personally I would only use telephony infrastructure for coms or data but to send four channels of audio unbalanced on a single RJ45 plastic plug is asking for trouble but I appreciate it is a cheap way of using computer infrastructure but god knows what else could be induced onto the audio lines and then come through a PA system etc?

So why not use audio connectors as I find RJ45 not very robust for audio applications and they are easily broken!

I agree what are you trying to do as mixing telephony and balanced audio doesn't tend to go together most of the time!