Thread: Two new pro sound recorders announced: Zaxcom Nova ($5K)& Sound Devices Scorpio ($9K)

Reply to Thread
Page 3 of 5 FirstFirst 12345 LastLast
Results 21 to 30 of 46
  1. #21  
    Senior Member rand thompson's Avatar
    Join Date
    Aug 2011
    Posts
    4,360
    Sound Devices Scorpio - NAB 2019




    By Curtis Judd Audio





    As part of our coverage of the Nation Association of Broadcaster’s show in Las Vegas in April 2019, we talked with Paul Isaacs at Sound Devices about their new flagship mixer/recorder called Scorpio. This is a device which is aimed at larger budget, very demanding productions where lots of inputs and lots of outputs are required.

    Please consider my sound for video classes available over at http://school.learnlightandsound.com

    Gear discussed and used to record this episode:

    Sound Devices Scorpio
    B&H: https://bhpho.to/2Uy4qDv

    Blackmagic Pocket Cinema Camera 4K
    B&H: https://bhpho.to/2JB7W5V

    Panasonic 12-35mm f/2.8 OIS Lens
    B&H: https://bhpho.to/2i6s2gv

    Electrovoice RE50L Dynamic Interview Microphone
    B&H: https://bhpho.to/2IRcEkq

    Sound Devices 633 Mixer/Recorder
    DVeStore: http://www.dvestore.com/guy-says-gear...

    Copyright 2019 by Curtis Judd

    Music Copyright 2017 by TVAC. Used with permission
    Reply With Quote  
     

  2. #22  
    Senior Member
    Join Date
    Oct 2014
    Location
    Auckland, New Zealand
    Posts
    971
    A relevant blog post for those interested in the new Zoom F6, that gives a bit of an overview of the current Sonosax preamp design which incorporates post (dual) ADC gain and has an option to record 32bit files:

    http://rtsound.net/no-gain-no-pain-s...ain-structure/
    http://IronFilm.co.nz/Sound/ (Sound Recordist based in Auckland, NZ. Happy to travel too)
    https://www.youtube.com/c/SoundSpeeding
    Reply With Quote  
     

  3. #23  
    Senior Member
    Join Date
    Dec 2009
    Location
    Hollywood, USA
    Posts
    6,266
    Quote Originally Posted by David Peterson View Post
    A relevant blog post for those interested in the new Zoom F6, that gives a bit of an overview of the current Sonosax preamp design which incorporates post (dual) ADC gain and has an option to record 32bit files...
    Note that Glenn Sanders of Zaxcom claims he has a patent on using dual A/D-D/A chips for wider dynamic range, and he's looking very carefully at this now. I personally think 32-bit dynamic range is insane, because (again) you'd be talking 192dB of dynamic range, which will blow out your hearing and basically kill you within seconds. Even if you use all 24 bits -- which is much wider than anybody could stand to listen to in a theater -- you'd be hitting 144dB. OSHA notes that a jet taking off from 200 feet away is 130dB. 140dB is the threshold of pain. They won't legally allow workers to be exposed to 100dB sound levels for 2 hours a day. And you can capture very close to 100dB with 16-bit files.

    Good articles on audio bit-depth:

    https://en.wikipedia.org/wiki/Audio_bit_depth

    And OSHA sound levels:

    https://www.osha.gov/SLTC/noiseheari...tion/loud.html

    Check out the specs on any super high-end microphone as to what their self-noise levels are and what modern preamps can really reproduce. (And I don't mean the $10 mics stuck on the end of a Zoom.) There are $10,000 mic preamps that I think will struggle to get 100dB out of most conventional condensor microphones. And what world has volume levels that quiet? Even the best quiet studio in the world can't get below about 20dB (and that would probably be air conditioning or background noise rumbling).

    So I think a lot of this conjecture about theoretical bit-depths and dynamic range limits are meaningless in the real world. Nobody's going to be able to mix it for release for theaters or home video or cable or anything else. And in fact if you did hit 150-160-170dB levels for the public, you'd be shut down by the FDA and other government safety authorities. Trust me, 100dB sustained peaks in a theater is plenty loud. The audience winds up looking like this guy:

    marc wielage, csi colorist/post consultant daVinci Resolve Certified Trainer
    Reply With Quote  
     

  4. #24  
    Senior Member Michael Lindsay's Avatar
    Join Date
    Apr 2007
    Location
    London UK
    Posts
    2,573
    We like HDR audio partly due to a lack of competence on our side... we understand it is not really useful as the mics can’t deliver the range but we like being able to set stuff up once and only concentrate on mic position and not blowing the mic.. the mixer we leave alone...

    So we invested in zaxcom kit because we are not really audio people... the combination of zax HDR audio ‘neverclip’ and TX that records all day long independent of mix based record reasured us.... with zaxcom nomad zax TX we also have redundant recording.. and also mixer back up record and also redundant power.... real belt and braces approach!

    the slight irony is Zaxcom stuff is not exactly intuitive;-(
    Michael Lindsay

    my studio Instagram
    Reply With Quote  
     

  5. #25  
    Senior Member Patrick Tresch's Avatar
    Join Date
    Aug 2007
    Location
    Switzerland, Lausanne
    Posts
    4,911
    Quote Originally Posted by Michael Lindsay View Post
    We like HDR audio partly due to a lack of competence on our side... we understand it is not really useful as the mics can’t deliver the range but we like being able to set stuff up once and only concentrate on mic position and not blowing the mic.. the mixer we leave alone...

    So we invested in zaxcom kit because we are not really audio people... the combination of zax HDR audio ‘neverclip’ and TX that records all day long independent of mix based record reasured us.... with zaxcom nomad zax TX we also have redundant recording.. and also mixer back up record and also redundant power.... real belt and braces approach!

    the slight irony is Zaxcom stuff is not exactly intuitive;-(
    You could also buy the M2D2 preamp that has 135db DR wich you can plug into your DSLR/DSMC2 minijack input or the R4+ if you need a recorder. Best sound in the industry and you'll never clip ;-)

    Pat
    Reply With Quote  
     

  6. #26  
    Senior Member Patrick Tresch's Avatar
    Join Date
    Aug 2007
    Location
    Switzerland, Lausanne
    Posts
    4,911
    Quote Originally Posted by Marc Wielage View Post
    Note that Glenn Sanders of Zaxcom claims he has a patent on using dual A/D-D/A chips for wider dynamic range, and he's looking very carefully at this now. ]

    The good thing for the non-US world is that the patent is only valid in the US territory. Kodak used dual AD in the 80's.

    Dual AD will become the norm in the rest of the audioworld.

    Pat
    Reply With Quote  
     

  7. #27  
    Senior Member
    Join Date
    Dec 2009
    Location
    Hollywood, USA
    Posts
    6,266
    Quote Originally Posted by Patrick Tresch View Post
    The good thing for the non-US world is that the patent is only valid in the US territory. Kodak used dual AD in the 80's. Dual AD will become the norm in the rest of the audioworld.
    It's hard to say. I think normal 24-bit audio is more than enough to record almost any location in the world. The problem is if the microphone actually distorts in the preamp itself, and that's an issue. I know of sets where they actually use 2 mics on certain actors, one set at a level -10dB lower, just in case they scream or otherwise overload it. And the microphone itself can overload in some cases, and there's no easy way of solving that except to sue a clip-correction algorithm in iZotope RX or similar software to try to smooth out the square wave.

    Again, the real problem is dealing with this stuff in post.
    marc wielage, csi colorist/post consultant daVinci Resolve Certified Trainer
    Reply With Quote  
     

  8. #28  
    Senior Member
    Join Date
    Oct 2014
    Location
    Auckland, New Zealand
    Posts
    971
    Quote Originally Posted by Michael Lindsay View Post
    the slight irony is Zaxcom stuff is not exactly intuitive;-(
    hahaha! Yeah Zaxcom is both tougher to fvck up (thanks to neverclip and TX recording) but is also easier to fvck up if you sound op is new to Zaxcom! Even experienced mixers can face quite the steep learning curve if they're new to Zaxcom
    http://IronFilm.co.nz/Sound/ (Sound Recordist based in Auckland, NZ. Happy to travel too)
    https://www.youtube.com/c/SoundSpeeding
    Reply With Quote  
     

  9. #29  
    Senior Member
    Join Date
    Oct 2014
    Location
    Auckland, New Zealand
    Posts
    971
    Quote Originally Posted by Marc Wielage View Post
    It's hard to say. I think normal 24-bit audio is more than enough to record almost any location in the world.
    I agree, as hundreds/thousands of movies over the years recorded in 24bits have proven.

    Quote Originally Posted by Marc Wielage View Post
    The problem is if the microphone actually distorts in the preamp itself, and that's an issue.
    That is exactly what the Zoom F6 is doing! This should be good news for us?

    Quote Originally Posted by Marc Wielage View Post
    I know of sets where they actually use 2 mics on certain actors, one set at a level -10dB lower, just in case they scream or otherwise overload it.
    This feature that F6 has will be even more useful on transmitters than on the recorder.
    Although as Zoom is not a wireless manufacturer, we might not see this any time soon, and Zaxcom will remain our only option.
    http://IronFilm.co.nz/Sound/ (Sound Recordist based in Auckland, NZ. Happy to travel too)
    https://www.youtube.com/c/SoundSpeeding
    Reply With Quote  
     

  10. #30  
    Senior Member Michael Lindsay's Avatar
    Join Date
    Apr 2007
    Location
    London UK
    Posts
    2,573
    Quote Originally Posted by David Peterson View Post
    hahaha! Yeah Zaxcom is both tougher to fvck up (thanks to neverclip and TX recording) but is also easier to fvck up if you sound op is new to Zaxcom! Even experienced mixers can face quite the steep learning curve if they're new to Zaxcom
    Zaxcom is definitely the Red and Sound Devices the ARRI from this point of view...;-)

    Ps Antother similarity is that Red has some very very key patents that stop ARRI and Sony ... just like Zaxcom.
    Michael Lindsay

    my studio Instagram
    Reply With Quote  
     

Posting Permissions
  • You may not post new threads
  • You may not post replies
  • You may not post attachments
  • You may not edit your posts