Besides the Mackie 1402-VLZ Pro mixer that we occasionally use for quick drum mix in the studio, Marantz’ CDR-630 is probably another studio hardware that’s been with me since the hay day.
The Real Plug & Play
Does Exactly What It Says On Box
Unsurprisingly though, it’s still a worthwhile investment today considering it’s now more than 12 years old. (And still running great!) Comes handy in a recording studio for both quick demo mixdown, mastering and duplicating. If you don’t have time to boot your PC or can’t afford for it to hang while recording “on the fly”, simply switch on the CDR-630, put in a CD-R/W audio disk, select your input option and press record. No waiting for a window to open, no egg timer, no colored beach ball – just press a couple of buttons and you’re off!
Works awesome for duplicating CD demo or transferring DAT / MidiDisc audio with the CD Sync function from the built-in optical input with selected digital player. Multiple of these units can be “Daisy Chained” optically if you need to produce large numbers of demos. All in all, a good investment for the amateur recording musician or professional alike.
Now go hunt for one on eBay quick! Best be generous on your bid. There’s still some folks who adore this old tech. Especially after reading this blog. 😉
Today’s laptops and computers include at least one built-in USB 3.0 port. In comparison to its USB 2.0 predecessor, USB 3.0 offers some great advantages – particularly for photographers.
“What are some notable differences between USB 2.0 & 3.0?” Well, let’s look at some facts.
USB 3.0 is capable of transferring data ten to twelve times faster at speeds up to 5 Gbit/s (625 MB/s), compared with USB 2.0 speeds of 0.48 Gbit/s (60MB/s).
USB 3.0 can read and write data simultaneously, in comparison to 2.0 where data can only be directed one direction at a time.
USB 3.0 draws less power from your laptop or desktop computer, letting you work longer in the field without needing a recharge.
USB 2.0 accessories are fully compatible and swappable with USB 3.0 ports, and vice versa.
Due to USB 3.0’s seamless backwards and forwards compatibility and ten time increase in speed capability, it has become the new standard for photographers who are in search of a smoother, faster workflow. Using a USB 3.0 memory card reader and computer, photographers are transferring two hours of HD 1080p video in 26 seconds, almost 10,000 images in less than a minute, and 2000 MP3 files in less than 13 seconds.
Few years back when I just joined Vimeo, it triggered to me that I also can do my part to assist this growing community of video makers. Whenever I visit the site, 90% of the time I’d be listening to the audio via my studio monitors setup.
If you know my background in music, I was 1st Trumpetist with a concert and marching band for almost 10 years throughout my educational years. That said, I came across the video of a classical concerto of violin and piano by Boris Berezovsky playing Carmen.
It was great until when I suddenly hear digital distortion in its forte fortissimo regions.. Somebody must have set the gain up too hot. It’s unexpected if they didn’t know the composition. What a waste of a recording I thought. But I caught myself listening to it a couple of time.s. Then I told myself. I can fix this. If he has different source of audio captures, I can fix it.
The rest was about commenting and emailing sound capture files with 2MakeMovies… 2 or 3 days of tinkering on ProTools with the given audio assets, automation, level controls and geek tweeks, I fixed the audio like the accident never happened. Listen for yourself..
There are video producers and there are sound engineers. Most of the time, its about preparation and separation. Despite all planned, Murphy’s law often plays his part and then your hardwork is ruined. Not all the time as bad. What I did here was solve a problem in post. It’s just one of the things that I am capable of doing as an audio engineer. Manipulating sounds. An audio guy’s work is NOT only about mixing and recording audio, but in this case also ‘fixing’ bad audio that needs to be salvaged for good use.
If you want to know more about what we do, be sure to visit our website at rastAsia because we care to make you sound good.
Just out of interest, here’s another community project that I was involved with. Basically translating a Dutch poetry and reading my translated version into the original clip it was created for. If you never thought audio engineers cannot speak, then think again.
rastAsia – Netherlands
It’s been a great month of getting new toys in this September. After a quick projection on the work in progress, we’ve acquired a list of mics needed in the studio to get the field job done. And you’ve read it – all of them happen to be from Sennheiser.
Sennheiser EW122p G3
We started our month with the Sennheiser wireless lavaliere EW122p G3 series. The frustration from not being able to mic up an interview clearly due to the fact that that last project was in a crowded space helped us make this decision to pick up a wireless lav. The main difference with the EW122p is that it comes packaged with a cardioid ME4 mic. Some folks reckon it might be a hassle to use a directional mic on a lavalier system, but I want to be able to direct the capsule to the talent in a controlled space. If I know that I will be capturing audio from the talent in the open but not in a sit-down-interview situation, then the ME2 mic (an omni) would do best. We got in the T+R packs along with spare BA 2015 batteries and the optional L2015 Dock Charger that should enable us to transmit continuously.
Sennheiser MKH 416 p48
This one is the industry standard. The go to mic that Hollywood or ADR studios would use to make overdubs. It’s a phantom powered hyper cardioid shotgun mic thats been used for over 2 decades and trusted by many ENG works.
I’ve heard so much about it and in fact never planned to buy this mic. Never thought I’d be able to afford one really.. But I got really lucky and found somebody here in Holland that was selling it at a pretty affordable price after giving up an old hobby of sound collecting.. Pretty strange I thought that he used the MKH416 which is mostly best suited for collecting dialogue for TV. No rules in audio they say..
I tested the mic thoroughly when I was there to collect it. I had my Roland R-26 close to be sure that it is able to power the 416.. This way I’d also be sure that my R-26’s circuitry works fine with the mic. It’s the only way that this mic can be powered. Interestingly the guy selling it had a Fostex FR-2LE CF Field Recorder, so we’re happily comparing gears over microphones and tea.. yes microphones.
One conversation led to another, so I asked I asked since he was into ENG and EFP, what else does he have in his collection. At this point he was reluctant, but he finally said he has this vintage shotgun that he is actually didn’t intend to sell. Didn’t intend to sell?? What does that mean.. What was it he had? A pristine 20+ year old combo still-in-box Sennheiser ME80+ME40 with a working K3U preamp.
Sennheiser K3U pre with ME80 + ME40 Capsule
Wait. Isn’t that the original electret that’s replaced with the new ME66+K6 module?? Yep. That’s the holy grail… I’ve actually read about these. I didn’t know I’d stumble into one.. while purchasing the MKH 416.. what luck. But was he planning to sell it or not was the better question.
Since it was there, I asked his permission to test both mics (or 3 mics considering that there’s the ME40 cardioid capsule there too). And I loved them both!! Instantly with the ME80 you could tell that its got a long throw of pick up. Not as warm as the MKH416 but its clear, crispier in its higher end peaking at 8KHz thus giving it that brighter response. But if you’ve seen the difference in this mic to the newer ME66, that’s where it gets interesting.
With the ME66 you need to use it in close proximity or the mic is not going to pick up frequencies from 2Khz and above. But that’s not the case with this ME80 which has an even response throughout the 10dB difference. SO which one is better you think? Well depends.. If you need sound rejection from the rest in the crowd, keeping this mic close to the voice will keep it isolated while rejecting the background noise further away from the mic. But for Field Recording, the ME80 will give you a gorgeous response in all registers.
The accompanying data sheet (published in 1987) reports the following specifications:
Electrical impedance: approx. 130 ohms
Frequency response: 50 – 15 000 Hz
Sensitivity at 1 kHz: 5 mV / Pa +-2.5 dB
S/N ratio according to DIN 45 405 and CCIR 468-2: >67 dB
The most important difference between the K3/ME80 and the K6/ME66 is the much higher sensitivity of the ME66 (50 mV/Pa vs. 5 mV/Pa). Thus, the ME80 would require a quieter preamplifier. The equivalent self-noise level of the K3/ME80 is about 6 dB higher than the K6/ME66. The specified S/N ratio of 67 dB corresponds to an equivalent (CCIR
468-3 weighted) noise level of 27 dB (which would be about 16 dBA)
Why yes, you guessed it. I ended up coming home with a bunch of mics. I have to thank Han for trusting me to take over his precious collections. I’m sure he had more in there but I wouldn’t be ready for Schoeps CMIT 5 U. This is bad enough for now.
I’m looking to see if we should enable customers to rent out this mics.. But if you really do need them while in Holland for your shoots, do drop us a note about it.
Next blog will be about our new upgrade for a friendly mixer for both Audio and Video – Avids MC Control v2, the Artist Series
I finally backed on something I liked on kickstarter last Christmas. Since I’m always in search of a good mini speaker(s) to lug around when I travel, I figured there’d be something in there that could improve the way we listen to audio coming from our smartphones apart from being attached to cords of headphones and such. Notice how I said audio and not just music? You see, music this days are primarily still mixed in stereo (and I say so coz music engineers rarely do Mono testing compatibility this days) and if your hardware only supports Mono, chances is that you’re only listening to the Left channel of the audio mix. I sure hope that’s not the case with the product we’re gonna be talking about here..
Hidden Radio & Bluetooth Speaker
I’ve been using Singapore-produced X-Mini Max II where ever I roam; to the beach, the park, in Bali, on the boat or just right in the living room with an iPad to listen to webcasts. But last Christmas, when I saw the design from John and Vitor… I thought it’s about time I try something untethered, and a pretty looking one to boot.
What John van Den Nieuwenhuizen said about their design made me want to try their speaker out.
“Radios and speakers are often large and obtrusive, we created the HiddenRadio + BT Speaker using simple, unassuming, intuitive design so it can be loved in any home.”
This is true.. The thing that never got emphasized though is that this radio is an FM based receiver. So I don’t know if it’d receive all stations when you bring it with you across different hemispheres. In Europe the stations are spaced at 9kHz intervals, and in the US they use 10kHz spacing. Most modern radios won’t let you tune between these spacings. Since there is no AM then no problem. Smartly enough, the unit uses simple 2-button Up/Down Scan function to lock on to any good FM transmission available. You’d have to guess what station you’re listening to as there’s no LCD indicator on the frequency you’re on.Thus the name is true, there is a ‘Hidden Radio’ built into the Bluetooth speaker. Something to add about the FM radio, you’d have to plug in an external FM antennae for better reception. Curious why they didn’t use the knob itself as a brushless antennae.
THE LOUDNESS WAR AND IT LOOKS METALLICA
The Bluetooth Speaker would crank audio up til just over 80dB . Pretty loud claim for something its size. There’s a video comparison on the audio quality compared against well known Jawbone speaker. But seeking deep into HRBS site, there’s no where in tech specs that they mention the speaker’s range for Frequency Response. Proprietary 360° sound diffuser.. that’s all that’s written under Audio Specs.
No buttons, just one giant knob to lift and turn. The higher you lift the cover, the louder it gets. That simple? Not so.. Two things..
I’m curious how the mechanism is designed for this to work smoothly. They claim that it should be effortless to lift the lid without having to hold the base. There’s gotta be some sort of gummy rubber placed on the base to create friction from the base to spin as you turn the top cap. And if I’m right, then you’d need a little practise to actually do the twist-to-turn-on-and-raise-up-the-volume functionality. Eitherwise it’d be a grab and turn like what I saw on SlashGear’s video review. And notice how the lid is twitsted clockwise to lift? Its counter intuitive on how we always twist anti-clockwise to open a lid.
Its a gimmick I think. If you don’t turn that knob all the way up, the sound is bound to be muffled. Looking at the picture again, you see that the speaker grills sit all around under the knob casing. You don’t adjust the volume of a speaker by blocking the face of the tweeter or cones do you? Even when you lower down the volume, that speaker cone needs to be free and unblocked to continue reproducing the full frequency range of audio that you’re listening to. So I’m curious how they’d overcome that issue based on their design. I believe you just have to keep it wide open to get the full range and adjust audio from the playback device. If this falls true, then there’s a huge design flaw against the aesthetic idea. Well even I fell for it!
With AirPlay enabled on the iOS device and paired via bluetooth, HiddenRadio will now appear as one of your external audio device. Switching speakers is effortless.
Built-in battery is claimed to give about 15hrs of play time. Which I hope is made easily replaceable when shelf-life is reached. I can’t even remember what their final decision was.. as to whether a wall plug would be delivered with the product or not.
Looking further into the design itself I think all is good except for two critical items..
ONE: They forgot to add in a microphone. Kinda defeat its purpose if you have to run back to the phone to speak and listen back via HRBS. It should work fine for Skype and FaceTime video chats fine as you’d have to be close to your phone for video framing anyhow, thus using the mic on mobile device is inevitable.
TWO. I wish they had a Call Answer or Call Reject button. Think about it. It’s almost a ‘speakerphone’ but you can’t talk into it or stop the phone from ringing when somebody dials in.
WHAT ABOUT QUALITY AUDIO
Alternatively, if you’re looking for quality speakers that offer wireless bluetooth functionality which focuses on sound quality as well as functionality apart from clean looks, checkout Soundmatters’ foxL v2.2 speakers. Claimed as worlds best bluetooth stereo speaker, which comes with a hands-free microphone that enables better speakerphone / conferencing. And with no surprise, foxL also comes with one-touch answer/reject/end-call button. Batteries lasts only about 8 hours it makes sense as you get full fidelity stereo sound. Shame I only learnt about Soundmatters’ foxL after pledging for HRBS! Aarrghh!!!
Shame that I cannot do any audio comparison of Foxl against the HRBS right now. But come the time, you bet that I will do back-to-back referencing on the audio spectrum from HRBS. I sure hope it stands to its competitors even if its not a stereo speaker.
We’re just days away before receiving our Hidden Radio and Bluetooth Speaker here in Holland.. and with the new announcement of iPhone5 yesterday, audio is triumphantly one of the most focussed enhancements in recent comm tech developments. High Fidelity audio is the way forward. Not just about being wireless. Not just about sitting pretty. For now, we wait, see and listen.
My broken Shure E3c’s been sitting in its case for more than 2 years now. It’s been my ticket through audio engineering class in ’04 before I owned my decent Genelec nearfield monitors. Yeah, that makes it an 8 year old vintage piece. I usually fix small electronics myself, like my Canon EF-S 17-85 lens, thus I thought this thing should be no biggie unless if its the connecting cables that snapped in their rubber shieldings. Heck I don’t mind giving it a surgery if it needs to. It got tucked away in the dark cold cabinet instead.. almost forgotten.
Fast forward today, I thought I give it another go before I toss it off into the bin.We all know Shure makes great audio gears. I own a couple of SM57s and they’ve survived being thrown onto brick walls. But for this in-ear, I almost mailed it back to Shure, with a NO THANK YOU NOTE for suggesting buying a new pair of in-ears. They claim that its ‘irreparable’. Or.. was it some EU70 to have it fixed. Well you get the drift.
You first notice that the audio from either side of the in-ear begins to become softer or certain frequency range seemed to be ‘filtered’ off. I instantly thought, ok cable is slowly getting busted. Thus I kneaded some parts of the cable wire to see where that fault might be. I couldn’t find the ‘breakage point’.
Next thing I thought, maybe one of the audio drivers’ gone faulty. There’s 2 microdrivers in the E3c, similar to that of your HiFi speaker but in miniature sizes, lower registers and the tweeter. Listening to it, I only hear bits of highs, but its intermittent, thus the thought of DIY repair got a little bit trickier I thought.
Crack It Open And What Do I see. Oh What Do I Hear!
The problem with mine lay on the Right in-ear. I noticed there’s a small possibly glue-joined crevice on the ear-piece from where the ear-funnel protrudes. I held it carefully with rubber gloves and twisted it anti-clockwise with some force. Be careful not to snap the elongated ear tube. It was my lucky day! Probably due to age, the glue might have worn down. It seems to be designed with a 3 point snap-on bayonette mount (look diagram above). There’s no wiring from that front tip, now if you plug in the earphone jack voila! You’d gloriously hear full frequency audio again. It was working all this time!! SO what caused the audio to be ‘blocked’ then? That was the clue.. Too much ear wax?? No. Stopping is blocking the audio out.
THE PROBLEM? Faulty design of the ear-wax filter itself!!
The small green cellophane diaphragm less than 2mm wide may have got pushed a little bit too far than its supposed to that it blocks the auditory canal. This explains the the higher frequency leaks, but no bass. Bass frequencies will only be re-produced when the bass-ports are wide open as they need more room to travel.
What’s the ULTIMATE Shure E3C Repair?
You got to thank me for this!!
Since that filter is plunged too far blocking the audio canal tube, there’s only one thing to do, take it out and place it back it to its proper position.
I used a blunt-edged copper wire. A paper clip might work too but make sure it doesn’t have a sharp end. Push it completely through the audio tube and you’d see a tiny small green plastic cap. That’s your golden ticket. 😉 You should now be able to see through the audio canal now without anything blocking your sight of path. The grill or spring coil would still be intact in the tube. Now here’s your opportunity to clean those audio grills! I used a cylindrical interdental brush and gave it a good spin and even a quick wash and self-dry before replacing the green ear wax filter.
Once clean and dried, now its time to place the diaphragm back in place. Very gently push the filter into the tube again. I can’t tell you exactly how far it should go. But comparing the visual distance from the working in-ears, I’d say it’s good as long as you have it seated on the grill. Do A-B monitoring between the Left and Right in-ears. I’d suggest using a Mono Signal of various audio frequency to to be sure that all frequencies are coming through on same amplitude on both Left and Right side. If you did it right. Voila! You’ve fixed your expensive in-ears with a paper-clip. Next – the glue.
Correct Position For SHURE E3C Or E2c Ear Wax Filter
Right, the glue. I used quick drying industrial glue. Even if you’re an expert on glueing, I’d suggest applying the glue on a toothpick first before dapping the plastic directly onto the glue tube. You don’t want excessive glue on this in-ear. Any added material weight would increase the mass of the reverberating unit and may cause faulty frequency re-production. Keep it as minimal as possible. Dab a tiny bit of glue, twist in back on and away you go. Let it cure fully over couple of minutes. And if all is placed correctly, you should be ready to blast off those good in-ears again.
There you have it! Tell your mama you fixed your hundred of dollars worth of in-ear yourself and be proud of it!
So how you should care for your in-ears matters. Drops or sudden shocks could shake the movable driver magnets, or possibly in this case re-locate the ear wax filter to a point that we think is irreparable. That cleaning pick that Shure provides should not be used.. or if necessary, only used minimally.
You don’t need no screw drivers to fix this. And I don’t understand why Shure say it’s non-self-reparable. Well look at what I just did today. And look what you can do today with your ‘bad’ Shure E3c.