Dimension Traveller Tech Blog

Trans-Dimensional Energy Research,Audio Engineering,Film industry,Self Improvment and everything in between.

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Rodelink Newshooter wireless system on set review

Rode makes great products affordable products.Today,I was lucky enough to test drive their wireless plug-on transmitter(aka “buttplug”) on a film set. Coming from a background of using high end Lectrosonic and Zaxcom systems 95 percent of the time. I didn’t expect too much from the budget friendly Rode.

The whole system is very user friendly and simple. Takes 2 AA batteries for each TX and RX. you can get about  a bit more than half day of use without shutting them down between takes. Pairing is easy and straight forward with only 8 channels to choose from. Construction have a cheaper plastic feel to them but for 650 CAD for a whole set. Its really good for the money.

Its a newer system that works in the digital range of 2.4 GHz instead of the traditional UHF systems around 500 to 600 MHz range. Pairing is fast like it should. RF drop outs are very quiet compares to the loud white noise of the G3 wireless systems. the signal range I got was around 150 meters in a film studio full of walls and lights. Sound quality is not bad compared to a high end professional grade 10,000 dollar Zaxcom wireless system,I say better than the G3 units i was very impressed. I used the same mic,same mount and pole for this test.

The transmitter is pretty big in terms of size. However it was lighter than I thought. I have no problem waving my pole around when I needed to. Battery is pretty easy to change although not as fast as Lectrosonics ,controls are simple and easier than the G3s. I do find it to be too easy with no advanced menus. It have a mic input,a headphone output and a USB power input. When you need a another set of wires for talent. The buttplug can be used as a body pack. not sure how you are going to hide it tho. There was no battery life meter on the transmitter. There is a small but really bright LED green power indicator light on the top. I dont know why Rode put that bright ass light on top there, I had to tape it down for preventing reflections for camera. The transmitter looks like it was build to impress,but its still all plastic,but it looks tough,only time will tell.

Receiver is straight forward. Display on top have battery level for TX and RX and audio meter. Pretty big compare to G3 unit. But at least you are not going to mic the latent with it. You can run the device with 2 AA batteries or plug in a micro USB to power. I used a charger for my tablet and it seems to work well.

Overall the Rodelink system is a fantastic system for the money. its great for small indie level productions where a budget is limited or as a backup system in case the main system go down. For 630 CAD. I would buy one.

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Experience with waring Black clothing.

Most folk understands that colours have an effect on our emotions. This is why Darth Vader and many other villains in movies have a red and black themed out fit, pure and innocent character often appears to wear white. Colour plays an effect on the human psyche. 

Black

In Magick, Black corresponds to the planet Saturn, Saturn represents Limitations, Obstacles, Boundaries,the word “NO”, rules the physical realm and time. more info on saturn: https://youtu.be/d4Qn-UeH0K0

Yesterday,While working on set and wearing black,I Received a text from Guy interested in buying an item I listed on Craigslist. and it went like this:

Guy: Hi,I will give you $80 for your Item.  Me: 100 or nothing Guy: WOW,you are selling on Craigslist and you have no room for negotiating... Me: Take it or leave it. Guy: Okay, I will take it.

We set up a time for meet today. I intentionally wear alot black. If I were wear say Pink or Blue, I would have felt a lot different.

I met Guy by the door, we proceeded to the studio to see the item. He begins to ask me if it comes with any other things. I said no. then he was trying to get me to include with another item.I said no. After we tested the item, we made the transaction then he left.when Guy was going out the door, I could sense him with the feeling of not being most satisfied that he didn’t succeed in get more than what he came for. 

I felt very grounded when that happened,bond by the rule that I intentionally set out,felted that wearing black helped a lot. 

More experimentation with black when the time comes.

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Allen Yang, Sound Department: Within the Mind

Its been a interesting journey working in the film industry. there will be more on that later. 

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Doing Production Sound For Film Industry Part 1

I have been very busy being a Boom Operator for the film industry. Right now its paying my bills and then some. I can safely say I am not a broke ass musician anymore. Been doing sound for film professionally about 1.5 years now. Its been a challenging journey in a good way. 

I love what I do. I love being onset. There is breakfast,lunch,hot snacks in between and crafty thorough out the day. I am always running on a full stomach. Everyone have a important job to do. Everyone treat each other with respect on set. Sure a normal day on set is 12 hours, but who cares when you are having fun and getting paid very well to do it.

Sound is one of the must have departments in any level show. Be a student production to union tier 1 show. There are three positions on a big budget show: Production Sound Mixer, Boom Operator and Sound Assist. On the small indie productions there is the Sound Recordist who is doing all three jobs in one. 

Its a simple concept: To record clean dialogue. There are ton of youtube videos on location sound. But they are all really basic, geared towards small indie film makers. On a bigger production, there are a lot more going on. you hear terms like Comteks, IFBs, Smart Slate,Sync Box,etc. There are alot more departments as well. Its VERY IMPORTANT to make friends in ALL DEPARTMENT. They can make your life much easier.

I want to shooting how to videos on doing sound for film.

So how do one get in to the film industry for sound?

That is a harder department to get in to. Just do it, get in on smaller productions in gain experience and networking. you may not get paid right away, but the experience is very valuable. The more you do it, the better you get, more you will get called back. 

Most Sound Mixers like to stick with people they trust. They are taking a HUGE risk of their own to taking on someone they don’t know. Getting in line with a mixer is a achievement in itself. its also the best thing. Mixers own more than 50,000 dollars of sound gear so they can do bigger production that requires it. Thats is the next level up. In order to get in with a mixer, they need to trust you to do the job. Its a fun job, but its a hard job. 

 I have been lucky enough to say I am on the first to call list of a sound mixer. my day rates is usually around 350/day for 12 hours on non union shows. 

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Useful for reference

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DIY: Sub kick microphone.

I know I have been posting less frequent in this blog. I have been busy with my life trying make things work. Which bring me to the sub kick microphone.

Since I have a couple new speakers I can spare, and next month I will be tracking drums alot at my studio for a brand new web series and a music video. So a sub kick is needed. The Yamaha retail version of a sub kick will run you about 350+. Not an option for me since all my budget goes to rent and food at this point.

always do your own research,before doing!

The large diaphragm of this microphone will pick up more of the low frequencies when recording a kick drum or bass guitar.

Parts I used for building this:

Broken guitar stand lots of zip ties A female XRL connector with a bit of cable on the end. Thick double sided tape for padding 10 inch loud bass speaker

Since everyone have a different way of mounting the speaker(google it). I wont go in to detail on how I did it with a broken guitar stand.The idea was to solidly mount the speaker to my guitar stand. I just happen to have a lot of zipties, it can be done.

Soldering: 

So what you do is take the speaker and solder a male XLR plug on a short cable to the speaker terminals. Pin 2 goes to (+) and Pin 1 goes to (-) pin 3 is not used. On the other end should be a female jack.

as requested, Here is a sound clip on different sources. 

two mics i am using to compare. the 58beta and sub kick mic

Guitar:

1989 Kramer w/1985 Fender American Std pick up. neck. Black star HT studio 20,matching cab

Bass. Ibenez SR 250, stock p.u. ampeg 10 inch combo amp,with 15 inch cab extension

Kick drum, Pearl kick drum with felt beater. 

https://soundcloud.com/electircfusion/sub-kick-test-with-allen-yang

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Editing Tip:

When editing dialogue, add a reverb as a send effect to simulate every room can make the voice more lively.

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DIY Acoustic Panels part 1

So I finally got around to build sound panels for my project studio. I already have a decent sounding space. when it comes to upgrading my production value,having a good sounding room is very important as well. 

I am about 1/4 of way in the the project, so far I completed cutting wood for box for window, panel 1 2 3.

Project goals:  Build a box to block sound travelling through the basement window. Use up what ever insulation I have left for sound panels. combine panel 1 2 3 with hinges to make a convertable vocal booth

Insulation I am using: Roxsul Safe’n’Sound 16″  3″x15 1/4″x 47″ 12 per pack. total of 8601 square inch(15.25x47x12)

The window 29 3/4″ x 91″ = 2707.25

Pannel 1 34.5x15.25 = 526.125

Panel 2 34.5x15.25= 526.125

Panel 3

45.5x15.25 = 693.875

insulation I have left: 4147.625

Rest of the panels are going to be 15.25 x 15.50 =236.375

17 panels.

how many screws do i need? what type of screws? what and how many wood to cut or i have work with? could I have enough for a ceiling panel. 

anyway its  about 2 AM.

will update soon.

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Blimp MK II design concept. no size changes.more weight reduction,easier use. will construct one soon

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DIY: Mic Blimp for under 30. Instead of spending 400

Mic Blimp,is a large, hollow windscreen put on a microphone to cut wind noise. Used for mostly for broadcast and film production. There is a few company make these. Like all professional gear,they are a bit pricey. The Rode Blimp would ding you about 350 Dollars.

However,I don't have the budget to buy or rent one.But I needed one on set the next day.

I watched two youtube videos I watched to give me an idea on what I need for construction of my own.

After hours of research. I have outlined some basic materials needed. All of the things I got from Rona and dollar store.This is a list just for the Blimp. As for the mounting system,It depends on your boom pole

Wire mesh - $14 Rona dont have anything smaller.

ABS pipe fittings,3 inch. a coupling, a plug - $ 7

Steel wire - not sure. used the wire came with the wire mesh

Kitchen Strainer - $3

Hair Tie - $1.50

Nylon Stockings - $1.50

Tape - any packing tape will do. cloth tape preferred.

Some basic hand tools needed:

Drill and bits

Saw

contact cement

wire cutter

metal file(fine grid that wood file)

basic hand tools.

So lets moving on to construction: 

Before I start cutting the wire mesh.I used a shotgun mic and a pipe fitting to measure how much I needed to cut. The length should be 1.5 times the length of the shotgun mic. Then use the out side dynamiter of pipe fitting to determine the width. Its important to leave some extra for steel wire(will explain later on)

Use the pipe fitting as a guide to roll up the wire mesh. then tie one end of the mesh then string it up in a zig zag fashion with the steel wire. Move the pipe fitting up as you string up the mesh. this will make sure that the casing will be straight.

After the casing is all stringed up. we move our focus to the pipe fittings.

Cut both pipe fitting in half. 

The plug fitting is shorter than the coupling. The ring part of the cut plug is used to reinforce the front cap. the other end is used to close the back end.  The two pieces of coupling is used for reinforce middle part also to hold the shotgun mic in place.

Cut out the mesh part out of the strainer for the front end cap. The ABS ring goes under the mesh casing and cap. use contact cement to glue them all together. Tape the border to make sure there is no sharp wires are sticking out.

As for how to fit the hair ties. I did not like how the two videos does theirs. Its too complex to fit and re-fit. So I made two notch on each side. The hair tie can latch on to the fitting and it a easy refit if one of the hair tie broke. The Hair tie will not fit under the casing. make sure make adjustments to casing for a proper fit.

Cut a hole on the side of the casing to allow a XLR jack to go through the casing.

Use nylon socks to cover the casing. use a few socks for a better wind screen. 

Use the Plug on the end and you have a Blimp.

Tata! 

I will make another post about the mounting system and weight reduction tips another day.

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Steinberg CMC series controller product review

In the world of home/project studios. One can only can go so far operating a DAW with a keyboard and a mouse,its like walking VS biking. Having a dedicated DAW controller can allow a faster work flow with a hands on approach. Making production time a more fluid experience. 

Being a long time Cubase user myself I have always drooled over the Mackie MCU Pro control surface and Steinberg CC 121 controller. But both carries a steep price tag. I come across these CMC series controllers a few month ago on internet. After doing research, I ordered one at a local music shop. With each model priced at 100 CAD+tax, I can't go wrong. I fell in love with it,so I bought two more a few days ago.

There are 6 models of Steinberg CMC controllers, I have CH,QC and TP. Each models have distinct features allows people to buy according to their needs. Being designed/made by Steinberg/Yamaha, It cuts the need for a third party driver app for software/hardware integration(ex. Novation/Automap). Making a seamless integration without the expense of CPU.

Overall construction quality vs. pricing is excellent. Placement of LED lit buttons are well thought out. Touch slider works well after a few sessions. Encoders need to be more precise otherwise good. Integration with Cubase is straight forward and flawless. Easy to operate and program with in Cubase. and It looks pretty neat when its lit at night.

In conclusion. If you are looking to speed up production or just want to have a better studio experience...JUST GO BUY ONE! YOU WONT REGRET IT! 

start with CH if you are not sure which one should get. 

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Short note

I am impressed on how good of a overhead drum sound I get by using a pair of AT4033a. It sounds good even without a dedicated snare and tom mics. 

cymbals are clear and even, snare and toms have a good presence.  just beautiful. Add some SSL 4k bus compression to that. you are golden,

The only thing is to check phase and panning after setting up. easy with the right tools. I like Waves S1 stereo imager. there is a free one called Flux stereo tool which is really good to have

damn these mics can do it all. 

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drum micing,mixing and rant

So the The Flying Fishmongers recording session went really well. I decided to mic up the drum kit with a spaced pair with AT4033a for overheads,then 57 on the snare and toms and the Beta 52 on the kick. 57s on Guitars, DI and a 57 on the cab. Recorded in a 1400 sq ft. room at Harrison Hammond House. The room sounded great. We recorded the song "live off the floor" which worked great. It capture the feeling of live in a studio setting,this works really well when the band itself is very tight.

So went it comes to mixing the drums.How the mics are panned makes a huge difference in a balanced sound and stereo image. In order to make sure they are panned correctly. I used my overheads as a panning reference. and then panned each mic accordingly. they sounded great.

Hopefully we get rest of the production underway. I wanted to try more things to enhance production quality and experience. This time I will have a assistant or two helping me hopefully. 

Rant:

Windows 8.1 is still not stable enough. I bought my laptop 5 month ago. I had to reinitialize just yesterday. Windows was updating it self. It rebooted after the update was complete  Then it said that the update failed,and its undoing them. I left it on over night, when I came back it still shows the same screen. so I had no choice but to re install the whole system. which not a big deal for re installing the system. But for a error like this? isn't Window Update supposed to make the OS better instead of crashing the OS?!! 

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drums testing

i testing my skills on drum recording is always fun and challenging.

Today, I took on what I have to see if I could make the best of what I know.I thought I did not have the right gear to record a full drum set and then some. it turns out I have what I need to record a full drum set. 

some preproduction advise

You can always make anything work, even its one mic.

make sure you have more than enough cables and mic stands.

study up some micing techniques and practice them.

What I have: 

sm52 beta

bunch of sm 57 and 58s

AT4033a condenser(pair)

At2020 condenser

SM 58 Beta

Did a space pair with the 4033a's. sound really good. 57s on the toms are doable. 

50.5 inches fro the snare. 

more thing to try on sunday, got to do live sound for a two parties on the weekend.

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A Cubase Crash Problem

II am a long time Cubase user. It is an amazing DAW. Quite solidly built and processes fast makes workflow very fluently.

With that being said.

It still have its flaws, When I first got introduced to Cubase in 2008. I did not take notice the software crashes. There were too few to take notice. Everything worked pretty fine. As the years go by, these crashes occurs more often than I expected. I turned a blind eye as I have already grown accustomed it. 

There were a couple incidents where I could not open a project file after the program crashed. Imagine that you have a deadline in two days and your project file that's up to date wont open. yeah. been there done that.

It wasnt till recently I was working on Seeing Red, I had about 80% done. It was a alright sized project. had more than 100 audio channels on screen. Then cubase decides to shit it self by crashing every fucking 2 to 10 minutes. It was hell. It was not the constant pressing of CMD + S that bugged me. but the times it took to reload the project that made me want me pull my hair out.

I took the opportunity to upgrade my operating system from 10.6.8 to 10.9.4. in hopes of solving some of the issues. Although it did made my iMac a bit faster but it made Cubase even worse. 

So to solve the problem. the oldest trick in the book is complete installation of Cubase and its hardware drivers. Also deleted some VSTs i don't use at all. 

And right now,its working better than before. only time will tell how effective this method is under the newly developed OS X 10.9.4

there is what I have learned over night:

Cubase it self is a extremely complex program, Just like a PC,it supports most third party software and hardware in the digital recording realm. not to mention the massive amount of settings one have to go through during the initial installation. and just like most OS, it get slow it time. 

When you upgrade your system OS. Its better to have a clean slate of your DAW rather than have it to carryover. The newer OS will most likely have a different coding structure than the old OS. when the DAW is carried over from the old OS, it might not adapt to the new operating system.

until next time

UPDATE! 

OMG!!!! AWESOME! I just opened a project I thought it was lost forever. That is GREAT!!!!!!!! 

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lazy update

I have been truly lazy about keeping this blog up to date lately. This year I been on a wild emotional roller coaster and its has been a real challenge. and i have learned that: You will win a challenge by understanding your fears and overcome it,its easier said than done.

This year it have been the most productive yet:

I teamed up with a long time friend and an amazing music producer Roddy Mac(a.k.a.MSAS) and we created Happy Land. Did sound design and mixing for a short film Seeing Red Directed by Adam Thomas. Two more horror short films currently in production stage with the creators of Jack's Not Ready. 

I finally got around to build a sound engineering production team for film, After one year of searching within my inner circle. 

On top of that I am trying to form a band as I really miss playing live.  

I am stoked on what's ahead.

Don't worry, I have a lot of notes. I will try to post them when I am able to so stay tuned. who ever read this.

Good Morning! 

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Trying out a new A/B ing with two speaker systems.

I am trying out this new way of mixing. maybe its better or maybe its wrong. the point is. i will never know till I try. 

I have a pair of KRK Rokit 5s which I love and use always. but recently I got a bit tried of hearing the same sound over and over again. Dont get me worng, the KRKs are awesome. but my mixes are alway sound the same. so that i need a second ear. 

So i thought why not do this: 

I also have a Sony HIFI stereo system,in which I used to mix with it when back in collage. its got two 5 inch woofer with a 1 1/2 inch tweeter on each speaker. sound decent,good bass. 

the sony will primarily be used for composition stage,while the KRKs are to be used when mixing. In that way,i will have a comparison between the each systems frequency responses.therefore a second ear.

I just hooked up the two system and they are ready to go.