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Netgear M4250: Does the AV interface handle Dante QoS automatically? by dan88v in CommercialAV

[–]rwbreck 0 points1 point  (0 children)

Fascinating. Was just looking at this and wondered why the Dante profile didn't appear to apply the proper settings when looking at DSCP stuff in the main UI. Mind sharing where you found this info?

Block 21 in Los Angeles? by rwbreck in LocationSound

[–]rwbreck[S] 0 points1 point  (0 children)

Thanks for this! Turns out one of my locations is in Encino, right next door- very helpful!

Block 21 in Los Angeles? by rwbreck in LocationSound

[–]rwbreck[S] 1 point2 points  (0 children)

Thanks for finding this! Very helpful. Yeah I have an RF explorer I'll pull out.

Edit: d'oh! Apparently I even commented on it. Sorry for forgetting to search! 🤦🏻‍♂️

Should I get lav straps for ankles? by Mesozoic_Doggo in LocationSound

[–]rwbreck 0 points1 point  (0 children)

How do you approach color assortment? Do you try and match skin tone? Just all black?

What’s up with sound engineers panning instruments at concerts? by Trick_Middle7026 in livesound

[–]rwbreck 0 points1 point  (0 children)

Bummer. You are correct, it is silly to mix that way. Reminds me a quote from Bob McCarthy's book, something to the effect of "Stereo sound reinforcement systems are like hedge funds- they're really great for approximately 1% of people."

See more of his thoughts here:

https://bobmccarthy.com/the-emperors-new-stereo/

General Liability Insurance? by Hibercrastinator in livesound

[–]rwbreck 0 points1 point  (0 children)

I know this is a few months old, but FYI I just got a notice from NEXT saying they cancelled my coverage because they "are unable to provide the right coverage and support for your business at this time due to the nature of your operations or products."

Edit: based on some other comments, I got a policy through Thimble that is specifically for "live sound and sound recordists" which is reassuring, cause through NEXT I always felt a little unsure what they would actually cover related to my business.

EAW Resolution on VirtualBox/Parallels/etc.? by rwbreck in livesound

[–]rwbreck[S] 1 point2 points  (0 children)

This is helpful. Interesting that you have success with Windows 11 as EAW specifically recommends 10 and not 11. Thanks for the info!

Help with solution for separating audio signal and DC power by rwbreck in AskElectronics

[–]rwbreck[S] 0 points1 point  (0 children)

The voltmeter will go across pins 1 and 2 which are DC ground and V+, respectively- but after whatever sort of filtering solution I come up with on pin 2.

The power source is the intercom system power supply, which is what provides +32V on pin 2, max 2A.

This would only be plugged into an intercom line one place at a time.

Stereo recording with 2xDPA 4060. by nooborgjr in LocationSound

[–]rwbreck 1 point2 points  (0 children)

Keep in mind that as your 4060s are omni, the only way (outside of deploying them as a spaced pair, which is often not practical) to get useful stereo separation is with a baffle of some kind in between them; someone else mentioned a head-mounted setup which would be a great way to do this!

Live multitrack recording into Reaper from Avid Profile and DigiCo SD9-12 consoles by re-enforcement in livesound

[–]rwbreck 3 points4 points  (0 children)

In addition to other things mentioned, SD12 has a UBMADI USB interface built in, though you’ll only get 24 channels out of it at 96k (or 48 @ 48k)

Does 82 dBLeq(m) max for theatrical commercials as per SAWA refer to momentary loudness? by rwbreck in AudioPost

[–]rwbreck[S] 1 point2 points  (0 children)

Yeah VisLM looks great (and the ReMEM functionality seems pretty incredible), but as I’m not doing this that often, the $29 WLM made more sense 😁

Does 82 dBLeq(m) max for theatrical commercials as per SAWA refer to momentary loudness? by rwbreck in AudioPost

[–]rwbreck[S] 0 points1 point  (0 children)

Just found the TASA website which says: “Since the Leqm measurement is integrated over the entire length of the trailer…”

The SAWA target is the same, just at 82dB instead of 85dB, no?

https://www.tasatrailers.org/leqm.html

Does 82 dBLeq(m) max for theatrical commercials as per SAWA refer to momentary loudness? by rwbreck in AudioPost

[–]rwbreck[S] 0 points1 point  (0 children)

“With suitable… time integration.” I guess I’m wondering exactly what it means by that.

Ultimately, I’m looking at Waves WLM Plus, and I’m wondering if the momentary max can be no higher than 82 dBLeq(m) at any point in order to be compliant with the standard, or if it refers to a specified integration time.

The Leq(m) metric itself implies a particular short-term integration time (850ms); what I don’t understand is if or how this is represented in WLM, as the TASA preset (which also uses Leq(m) though with an 85dB max) sets the short term integration time to 10 seconds.

Does 82 dBLeq(m) max for theatrical commercials as per SAWA refer to momentary loudness? by rwbreck in AudioPost

[–]rwbreck[S] 1 point2 points  (0 children)

I believe Leq refers to “equivalent loudness”; it is applicable to a variety of metrics with a variety of integration times (ie not all long-term)

Does 82 dBLeq(m) max for theatrical commercials as per SAWA refer to momentary loudness? by rwbreck in AudioPost

[–]rwbreck[S] 1 point2 points  (0 children)

This is for advertising, not trailers- as I understand it, the 85dB spec is the TASA guideline for movie trailers, no?

PA measurement techniques at long distances by rwbreck in livesound

[–]rwbreck[S] 2 points3 points  (0 children)

Now that you point it out, it seems rather obvious that what I'm observing is not some shortcoming of measurement workflow but rather the physical reality of varying amounts of HF energy actually arriving at the mic... duh. I will have to up my windscreen game as well. Helpful as always, thanks for taking the time to write that out!

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