I have experienced intermittent problems with Sony D30, 35, and D50 cameras connected to multi-core CCUs not always putting out color from the component outputs on long runs, 100 meters and longer. I have not been able to isolate these issues, but have had other engineers express that it has more to do with the camera than the CCU. One solution I have discovered is that, if I power up the CCU after making all the connections, rather than powering up CCU, connecting CCZ cable, then powering up camera, I seem to have less problems. Another engineer told me that you should never hook up camera cable to a powered CCU, CCZ or triax, although I’m not sure of the accuracy of that statement.
I recently wasted two hours troubleshooting an installation becuase of the VGA to 5 wire squids pictured here. They may use white and yellow conductors, buy they have switched synch. from every other cable I have used. Yellow is H and white is V.You have been warned.
We’ve all heard stories. A secure ballroom is looted of expensive items. Well, it has happened again. I’d like to contrast two approaches in one month. I was recently at the Montage resort in Newport Beach. There, we had overnight security which included cable locks wrapped around ballroom doors, including service entrance doors. Nothing disappeared there.I just came back from the Renaissance Esmerelda in Palm Springs. A beautiful facility. We had overnight security, provided by a sub-contracted security company. The front doors to the ballroom were locked, but the service doors were open to the world. Right under the security guard’s nose, $1000 worth of gear was looted one night. Of course, no one saw anything and nothing was seen on security cameras.The bottom line, you have to be vigilant in your security procedures. Work boxes, rack drawers, everything needs to be locked up at night. I would even suggest that production companies bring their own cable locks and secure the ballroom doors themselves.
Sometimes it seems that an entire comm. system is rendered worthless by hooking up Sony CCUs. Particularly M series multi-core CCUs like M5 and M7.After a great deal of effort working on a 3 camera system with D50s, D50 CCUs, and RTS intercom, and consulting other engineers, I would have to say that the Sony comm. system should be bypassed. They are just doing something different, and it doesn’t seem to play right, even though they claim it is ‘RTS compatible.’ I would suggest running XLR to camera positions, or modifying cameras and CCUs to use the existing wires in the multi-core cable to pass the RTS signal through the camera mic. XLR jack to a beltpack.
I just did a show with the World Classic Rockers, Surfaris, and Eliminators. I was working monitors and noticed two things. One, surf guitarists really like fat amps like those Fender Showman. It’s a good amp, but I think a lot of these guys aren’t used to playing with a large PA. They had a ton of low end in their guitars sounds which really mudded up the stage and the house mix. I got them to take the low end down some and with the subs going, they had more than enough fat. The mud factor went way down.
The other thing was a great mic. combination that I thought made kick drum sound killer. Using a Beta52 and an SM91, mixed. I’ve used one or the other before, but they really blended well and made a great sound.
I’ve just got the site set up and I’m busy loading things into the library.
While you’re here, write a post on your latest show or some really cool gear