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Author Topic: 16mm on a CP200? Jim Henk Master Film Handler Posts: 364 From: San Diego, CA Registered: Feb 2006 posted 10-10-2011 02:52 AM                     Anyone ever put a 16mm projector on a CP200? Might it improve the sound a bit? How would such a thing be done, considering the sound pick-up type? (It's an Elmo 16-AL in very nice shape.)  |  IP: Logged Sam D. Chavez Film God Posts: 2153 From: Martinez, CA USA Registered: Aug 2003 posted 10-10-2011 10:47 AM                       If it a photovoltaic solar cell, you can treat it just like a 35mm optical analog soundtrack and use the optical preamp projector 2 assuming you're only running one 3mm projector. There are proj. 3 and 4 inputs as well on the CP200 aux rack.  |  IP: Logged Tony Bandiera Jr Film God Posts: 3067 From: Moreland Idaho Registered: Apr 2004 posted 10-10-2011 08:10 PM                     Sam is spot on as usual, may I also add that you can (should) jump the L+ and R+ and L- and R- cell connections together, adjust the CAT 108 for the same level on both channels, and of course use Format 01 for 16mm. I have used that connection and setup scheme in the past with very good results. A bonus is that the CAT 108 gives you slit loss compensation to get the best possible response..but like any optical system it is crucial that the 16mm optics are clean and set up correctly. And to tweak you a bit Jim, you could have called me for this info...  |  IP: Logged Jim Henk Master Film Handler Posts: 364 From: San Diego, CA Registered: Feb 2006 posted 10-10-2011 10:03 PM                     Aww, shucks. Can't bother the same person with everything. That's just being rude. Thanks both.  |  IP: Logged Sean Weitzel Jedi Master Film Handler Posts: 619 From: Vacaville, CA (1790 miles west of Rockwall) Registered: Dec 1999 posted 10-10-2011 10:17 PM                     As simple as this concept is, it's not something that I have considered before. Thanks for bringing it up. I plan to tap my Kodak Pageant so I can pipe it to my own CP200.  |  IP: Logged Mark Gulbrandsen Resident Trollmaster Posts: 16657 From: Music City Registered: Jun 99 posted 10-10-2011 10:42 PM                     Doing so would be the inverse of playing back 70mm 6 track on a Sony pocket radio.  |  IP: Logged Jim Henk Master Film Handler Posts: 364 From: San Diego, CA Registered: Feb 2006 posted 10-11-2011 02:29 AM                     Come to think of it, though I'm no long-time veteran subscriber here, I've never actually seen anyone selling an auxiliary rack for a CP200 before. Not even on eBay. I would have thought those would be as common as weeds...  |  IP: Logged Scott Norwood Film God Posts: 8146 From: Boston, MA. USA (1774.21 miles northeast of Dallas) Registered: Jun 99 posted 10-11-2011 08:13 AM                        How different is the 16mm EQ curve from the Academy curve? Is there any situation in which the difference could be a problem? If you have two 35mm projectors and no aux rack, there are two other potential options: - 16mm solar cell to external preamp (the Symetrix SX202 works well) to non-sync or mag input - 16mm amplifer output to direct box to microphone input (probably the least desirable option, but it works well if you want to avoid modifying the 16mm projector)  |  IP: Logged Louis Bornwasser Film God Posts: 4441 From: prospect ky usa Registered: Mar 2005 posted 10-11-2011 10:31 AM                        A one time in L.A. every Academy 16mm screening was through an AshlyBP-41 bass guitar preamp patched into a Dolby processor. The eq is quite a bit different, with the knee poins lower (for 16mm) just like the bass guitar. First one was Directors Guild of America for Bob Perlmutter. My concern is that on 01 you do get mono, but the knee point plus the academy roll off will leave you unusually dull. On 04 and 05 you get nr which you probably don't want. Louis  |  IP: Logged Sam D. Chavez Film God Posts: 2153 From: Martinez, CA USA Registered: Aug 2003 posted 10-11-2011 10:33 AM                       Not all CP200's had aux racks, just a relative few where they were need for 5 channel playback or four projector use, or to show off. I have a couple I saved from the crusher. Scott is on the money on alternate solutions. I don't remember the 16mm academy curve but if anything the 35mm curve in the 200 is a bit agressive and makes mono sound dull.  |  IP: Logged Frank Angel Film God Posts: 5305 From: Brooklyn NY USA Registered: Dec 1999 posted 10-11-2011 11:36 AM                        We gave always avoided the Academy curve as has been said, it unnecessarily will squelch high-end. You want to suck out as much of any high end that actually exists on the 16mm track. I have very successfully used an external preamp -- the one I have found the most useful and the most able to customize the 16mm eq, is the Joe Meek 3Q Mic Preamp. It is extremely quiet and has a smooth, very sweet 3band eq section as well as the ability to introduce a bit of downward compression. It allows you to really tweak a 16mm track for best sound; it is a big advantage when you work with the limitations of the 16mm tracks to be able to customize each film you play to get the best sound you can. Set the compressor for a very mild downard compression and you can get the equivelant of some dynamic noise reduction too. Input this to an AUX input to you are not dealing the nsty Academy roll off which immediately stunts your freq response right out of the gate. BTW, there are about a half a billion mic preamps out there, the more expensive ones are using tubes (and they charge big-time for that esoteric hook); after looking at quite a few, the Joe Meek fit the bill very nicely. It cames in around a do-able $260.  |  IP: Logged Emiel De Jong Film Handler Posts: 48 From: Geldrop The Netherlands Registered: Mar 2007 posted 10-12-2011 04:31 AM                     I connected the cell of my Bauer 16mm to my CP50 as Tony describes, better 16mm sound than ever before and it made switching between 35 and 16 sound really easy...  |  IP: Logged Tony Bandiera Jr Film God Posts: 3067 From: Moreland Idaho Registered: Apr 2004 posted 10-23-2011 02:25 PM                     To pop back in on this one, yes the Academy curve did dull the high end..but I tweaked the slit loss a bit to make up for the loss...technically not the best solution but it still sounded pretty damn good. And someone I knew back in the day showed me how to defeat the Academy filter (IIRC it was on the CAT 108..or was it on the meter cards? Been too long....) which was pretty easy to do. Sam would know how I'm sure.  |  IP: Logged Louis Bornwasser Film God Posts: 4441 From: prospect ky usa Registered: Mar 2005 posted 10-23-2011 06:57 PM                        It is on the 109. Louis  |  IP: Logged Tony Bandiera Jr Film God Posts: 3067 From: Moreland Idaho Registered: Apr 2004 posted 10-23-2011 06:59 PM                     Thanks Louis!!  |  IP: Logged

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