Questions about sound in Red One

[craesmeyer]

As a sound guy, i would ask some questions to the Red people.

1. The 4 mic inputs are mic/level switchable?
2. There would be 48V Phatom?
3. The camera will have some kind of cooler or another component tha can produce an louder than aceptable sound (higher than an modern - not effect -35mm camera)?
4. The Red Hard Disk recording solution will be fan cooled?
5. And the Red Flash?

Just a sugestion... There will be an mic company who will be endorsed by Red? Suggested microphones?

You know about Core Sound's Tetra Mic? It seens to be an intersting companion to an doc/run & go type of production... I think it only needed to be a little shorter, or have an angled output to fit Red perfectly...

http://www.core-sound.com/TetraMic/2.php
http://www.core-sound.com/TetraMic/1.php

I didn't test it (nor see an review about it), but sit hould be an nice mic.

Thanks for watching

PS: Theres no slight chance that Red will get any digital audio input? AES/EBU yould be great... SPDIF not so, but... Red will be an evoution in picture, why not be an revolution in sound too?

[jbeale]

All good questions... (surely the Red team is not still adding new features, new circuits and new connectors at this late date?)

Just one note, it is slightly non-trival to add external digital audio input to a digital video camera, because the input has to be re-clocked. In general the external audio clock will drift relative to the camera master clock so you cannot simply transfer the bits directly. I'm sure there are chips that handle this, but if that chip is not already on the board, I assume this would be something for Red 2, not Red 1.

[Graeme Nattress]

Interesting mic. Michael Gerzon was a sound genius, and this, if based on his work like they say, should be superb. The 4 tetrahedrally placed mics would allow you to record the full 3dimensional soundfield on 4 channels, that you could decode into practically an surround sound format you want, as you have full XYZ information, just waiting to be pulled out of the data you recorded.

Graeme

[Stuart English]

All four audio inputs are mic/level switchable

All inputs support 48V phantom power for mics

The camera can suppress any active cooling (and hence sound) during a take

RED-DRIVE and RED-RAM and RED-Flash are all fan-less designs

Each audio input is sampled at 48KHz at 16 or 24 bit depth

We have considered methods for pre-digitized audio capture, but we have no news to share at this moment.

[Emmanuel Cambier]

Would 96khz be a huge problem?
Because it does sound better, the sound is noticably clearer and more define and would make the camera much more future proof.
24 bit is great allready, but 96khz is a very nice iceing on the cake, and would fit better in a demanding audio environement.

Yours "at any freq" Emmanuel

[jbeale]

I've taken good care of my ears, but I'm over 40 now and I have no hearing at all above 15 kHz. I envy you if you can detect 96 vs 48 kHz sample rates, all other things being equal! Of course they usually aren't... when you go to 96 kHz sampling there are normally other differences at various places in the audio chain- at the very least the details in the reconstruction filter- so unless it's a very controlled test, there is more than just a sample rate effect.

[GlennChan]

- How many channels of audio monitoring will there be?

- Is it safe to presume that you can control how all the channels get mixed to the monitoring outputs?
i.e. you can hear all 4 channels at once, or just input 1 in both ears, etc.

[Emmanuel Cambier]

I've taken good care of my ears, but I'm over 40 now and I have no hearing at all above 15 kHz. I envy you if you can detect 96 vs 48 kHz sample rates, all other things being equal! Of course they usually aren't... when you go to 96 kHz sampling there are normally other differences at various places in the audio chain- at the very least the details in the reconstruction filter- so unless it's a very controlled test, there is more than just a sample rate effect.

The difference is there to be heard on good monitors.
But I agree that it only get obvious when you are going to mix several tracks together, you really get a lot of clarity and definition, and things are being mixed a lot easier.

Yours Emmanuel

[Stuart English]

Because of the approach we have taken we have a fair bit of flexibility regarding what channel(s) can be monitored on the L and R outputs of the headphone and XLR outputs.

It would be interesting to collect inputs to what you guys would like, so we can compare it to what we've come up with as the first priority for product implimentation.

[Jochen Schmidt-Hambrock]

Hi Stuart,
flexibility about what channels to monitor implies that a 4 -> 2 channel monitor downmix is not possible?