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Lancashire soundie

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Everything posted by Lancashire soundie

  1. Rycote Mic Protector case

    The plastic tubes Rycote are selling as part of this kit aren't something they've designed and manufactured for themselves. They're fairly standard screwpack postal tubes, I've had bicycle components arrive in some.
  2. Vampire clips in the UK?

    Buy one of the LMC units and chop some of the plastic off with a tiny hacksaw or a hot knife. Or a file. I doubt you need the clip to completely surround it, it only has to grip it lightly. Another option is to use a Tram tr-50 vampire cable clip, they hold microphones surprisingly well.
  3. camera link

    If they don't pay they don't get. But there are situations where you can make it pay, for instance, the last time I used it was on a building site. If you're filming in a city centre, around pedestrians, there's another location. Or walking alongside a road. It's very easy to justify these things to production - nobody likes to ignore the word "safety".
  4. camera link

    I use the TRX900CL and RX200. Digital out the mixer into the CL, digital across the air, digital output into the camera too if it supports it. The RX200 is small, weighs very little and has a useful level indicator on the side. The only downside is that mounting it can be a pain on cameras like the F5, due to the amount of stuff cameramen bolt onto them these days. An added benefit is that with this combination, you don't need separate timecode sync - the CL sends timecode with the audio, you just plug the RX straight into the camera's BNC and that's that. It's a simple but effective system and the RX200 will also work with any Zaxcom body-worn transmitter.
  5. Receiver advice

    Ensure you're using the correct Sennheiser cable (they have a blue ring on the XLR).
  6. MKH40 high pitch noise

    I had this many years ago with a second hand MKH40, it was faulty so I returned it to Sennheiser for repair. It's been fine ever since.
  7. Receiver advice

    I've been using a couple of G3s with the handheld sticks for the last 12 months and I have to say they've worked perfectly, right across Europe and beyond. They're only plugged into an SQN so there's nothing really "digital" going on in the bag that could cause problems. I've used them on recorded and live work and had no issues at all. Are you using the correct cables, and are they tightened up fully on the receiver? The Sennheiser cables form part of the antenna and you can have problems if you don't use the locking ring on the minijack fully.
  8. Looking Into Buying Zaxcom IFB

    Open your mixer and check the Nomad antenna socket is still connected securely. They can come loose. I have two ERX's, I love them. Good for IFB in most situations, but also great for sending scratch audio to DSLRs and other things. On a shoot recently I had one providing audio and timecode to a roving camera, and the other providing IFB to a boom op so he could hear his mic. Worked very well.
  9. Rates in UK / Europe

    I think you should charge whatever you normally expect in your locale. What UK mixers charge isn't particularly relevant, although they're lying if they say that everyone charges £350 all in. Tell them that it doesn't matter what UK mixers charge, they're not in the UK now, they're in Brazil and will have to pay whatever Brazilians charge.
  10. Prototype BEC bracket for F55 Documentary Dock

    I find my universal plate works very well, on just about every camera ever made:
  11. sound devices media prices in UK

    Sounds like Sound Devices are sticking a sticker onto normal memory cards and charging a premium for it. I'd just buy whatever cards they say are compatible from Amazon and spend the difference on beer.
  12. 600mhz equipment resale?

    Perhaps a manufacturer has to jump through certain hoops before selling their equipment in the EU, but as far as I know, provided it transmits at 50mW and is in a legal band there's nothing to stop a private [licensed] buyer using whatever he likes in the EU.
  13. Cheapo boom pole

    I occasionally get asked to provide a long boom pole. Not enough, however, to justify spending a decent sum on a quality one. So at the risk of inviting much ire, has anyone any experience of these? Squeaks and creaks are solvable issues IMO. The last time I turned up on a job and the client wanted a long boom pole, I found myself spending money in a fishing tackle shop... https://www.aliexpress.com/item/Miliboo-portable-carbon-fiber-microphone-Boom-pole-Handheld-Grip-Support-Rod-Flash-Light-microfonos-Holder/32744962343.html

    If you're visiting as part of a job then I suggest you buy the licence and invoice it - no cost to you. I've only ever once seen anyone checking radio frequencies, and that was for a practice event before the Olympics. But the risk is always there.
  15. What kind of microphones might these be?

    I was watching some Reagan press conferences and noticed two men holding what appear to be extremely long microphone baskets, aimed at the reporters asking questions. Anyone know what they were?
  16. Bag/Ditty for wires and transmitters

    For lapel mics I use fishing tackle boxes. They're ideal - strong, weigh nothing, perfect size, transparent.
  17. troubleshoot TC issue with Zaxcom rx200

    I have a Nomad and a CL and connect the two with Zaxnet, you have to change the frame rate on the CL manually. You don't have to set anything on the RX200, that's all automatic.
  18. troubleshoot TC issue with Zaxcom rx200

    Perhaps I'm reading this wrong but this sounds more like an issue with either your Maxx or CL than the camera. The CL should receive timecode from the BNC connector on the back (or Zaxnet if you have a compatible transmitter). You have to set the frame rate manually on the CL but it should receive the correct TC number without intervention. The RX200 will receive timecode over the UHF link (not Zaxnet), and it will also receive the frame rate over that same channel, so you don't have to set anything there. Once you've got the link between those three working correctly, then it's time to move onto the camera. The RX200 has selectable TC levels of .01V, .2V, .5V, .9V and 1.5V. Which is yours set to?
  19. Interesting new wireless system

    I wonder if the system reduces bandwidth, or increases compression, when signal quality is low.
  20. Interesting new wireless system

    It isn't YouTube. Listen to the main presenter, she sounds ok. The other two, by comparison, sound - well, awful to my ears.
  21. Interesting new wireless system

    Perhaps it's just me but the audio quality on the two presenters positioned very far from the receiver is awful. Hardly any sibilance, their voices sound artificially limited in frequency range.
  22. New Boom Pole at CineGear

    I like the strap option, that's a good idea. Might be better if it was a piece of elastic string attached to your harness (or bag strap) though.
  23. iPhone audio question

    The social media crew on a large job I work on have a slight issue. They do Facebook Live broadcasts before the event begins, which are very popular. A presenter walks around the area, talking about the competitors, for several minutes. They do this with a Beyer M58 (or similar), plugged into an iRig Pre, which itself is plugged into an iPhone via the 4-pin minijack socket on the top. The iPhone then combines the mic audio and its camera video to broadcast to several thousand viewers, on Facebook. That part is done through a Facebook app. The iRig Pre has a headphone socket, but I found out this weekend that this headphone socket is not amplified. It's just a passthrough, so essentially if you plug headphones into the iRig, you only hear the phone - not the iRig. This is a problem, because the Facebook app doesn't allow simultaneous monitoring of audio while transmitting (the phone is capable of this, but the app is not). So the operator cannot hear the microphone. Obviously I've set the iRig gain to work correctly, but it would still be a benefit for everyone if the operator could hear what the presenter is saying, and if the audio is good/bad. So I need a device to put between the iRig Pre and the iPhone. I need this device to let the iRig's output continue uninterrupted into the iPhone, while taking a feed and amplifying it so that someone can listen to the iRig Pre on headphones. Does anyone know if such a thing exists?
  24. iPhone audio question

    I'm trying to get them to use one of the SKM 100-835 G3 stick mics I bought for the job in place of the Beyer, with the RX feeding the iRig, but that still leaves the problem of monitoring. Asking them to carry all that kit (I'm not there while they're doing it) is too much. Too expensive. Just need a cheap and easy way to plug headphones in, quality not a concern. Not a bad shout, but a bit too expensive (budgets are tight). Is this really teh cheapest option? Would be a shame if it is. No headphone socket though. Nice, but way, way too big.
  25. My MKH 50 stopped working. Sent to Sennheiser USA....

    Years ago an MKH40 of mine developed a loud whistle and had to be returned to Sennheiser. I don't recall the turnaround time, but things go faulty, that's just life.