Christian Spaeth

Try to put the transmitter on their ankle if you can. Thus less water between you and the talent. Also if you can anticipate which way talent will mostly face try to achieve as close to line of sight as possible. Make sure the mic cable doesn't touch the antenna, as that's a sure range killer in my experience.

Jim, you should clarify that this question could never be adequately answered unless we know what color of Schweppes we are talking about.

"no two skate videos sound the same." So the ideal is that they all sound the same? The opposite of creativity. No thanks...

Sound blankets are great to put anywhere you can. However in my personal experience putting or hanging stuff up is often hard to go through with, as usually lamps or monitors or what have you will come up right where you put your acoustical treatment. Next, even though it only takes care of high frequencies, carpets on the floors are often a possibility. A great wideband absorber is the human body, so have as many people in the room as you can while not upsetting anyone. Also, if you're in a quiet area, open windows, though this is a bit utopian.

since Nomad inputs 7-10 are line level only would it be so bad to have an external mixer with preamps? It seems to me your needs are exactly what the Kortwich box was thought for. Since your SRs have variable output level you could definitely use the VCP without amplifying much of your signal.

If you have some sort of distro for your bag or don't use too many receivers, mounting two dipoles (I made my own from SMA cables) on your harness or bag works well, for extreme range situations replace these (or one of them) with sharkfin (I use the Zaxcom Bluefins).

For what you're describing the MixPre 3 seems to fit your needs pretty well. Try one out for the limiters. If you don't like them you may want to get a Zaxcom Maxx. If you want to spend less, think of using two components such as a used 442 or 302 with any recorder (as you don't need TC). This will give you amazing results.

If you don't mind them being white you could get a couple of thick but cheap Ikea bedcovers like these: https://www.ikea.com/de/de/catalog/products/70271682/ The heavier the merrier.

These kind of things always raise red flags with me, might be that someone just copy pasted some settings without knowing anything. Make sure to double check if they really want shots with dialogue recorded at 50 fps. Maybe they're just afraid their hard disks won't fill up enough with 25 fps. If they really mean it I would make sure everything is manually slated.

People who say something like that to you are miserable and want you to be miserable too. It's BS. There are still too many assholes in this biz, no need to become one of them in order to be able to work with them. The solution is stay who we are and work with the good ones.

Reminds of playback performances of bands on German TV shows. I always want to punch the camera people for their angles. Maybe they think they have to make up for the poor performance. Funny thing is, usually what happens in front of the camera is as bad as behind in those examples.

yeah, dont buy the UCR100, its not good enough. Get a used 211 or better 411 if you're on a budget. Then (with 411) you have maximum quality Lectro sound and range.

Use a cable if you can, best audio by far and cheapest solution. Cheapest wireless that will be adequate for use with a Schoeps microphone: Used Lectro LMa or UM400 with UCR411 or LM/LR, and Kortwich VCP-10 for phantom. Don't go below that quality-wise.

In my opinion it is quite useless to try and educate clients on TC wrkflow. Editors are used to their workflows, and if PluralEyes have worked for them so far, they tend to not want to try something new. My job is to find out what kind of workflow the job's post team has, and adapt to that. Sometimes they don't even mind manually syncing up stuff, as long as there's no slates on set. I could of course recommend software that works great and would improve their workflow, but again, in my experience, this is useless, so I'd rather save everyone's precious time.

...and significantly increases the mic's self noise.

Looks like a Super Shield with slightly different colours ("Rode style"), and not that much cheaper than a Super Shield, so that's what it'll be.

It always bothers me a bit when these type of discussions become philosophical. First of all, I think we all use wireless products for practical reasons, not because we think it's so much fun or sounds so great, instead it is a compromise to make life easier on set. Show me a high end recording studio that uses wireless products. Right, they don't. And neither would we if we didn't have to use booms and move around on sets. I personally have never used Zaxcom wireless or the digital Audio Limited, actually the only digital wireless I have used were Shure (event audio though) and Rode, the latter of which I didn't like because of the way (digital?) the noise floor sounded. The best sounding results I have gotten audio wise were boom mic cabled directly to Nomad, respectively via MM-1 to a Lectro LMa to SRa to Nomad, and I would be quite surprised if anyone could tell which is which by listening to the end product. Both ways sounded very good to my ears, with the advantage of cable offering a higher dynamic range. Unlike in studio recordings, we almost always have a level of background noise on a set that would mask the noise floor of any mic or wireless system we use. That is why in studios they pay insane amounts of money on extremely quiet preamps. I don't really care about the numbers either, or how Zaxcom, Audio Limited or Lectros would sound in a dead quiet studio. I don't need or want a universal tool that is great in every situation (like "the best mic for music, dialogue and sfx"), I want something useful to a specific need, in this case, an alternative to unpractical cabled mics for use on sets.

Amazing! Great example of how sound can take us very far away and immerse us (especially if no moving pictures are involved...) Thanks for the share Jay!

I had a similar experience with the Rode phantom power plugon, had hopes for using it on the odd plant, but after testing it it just didn't inspire my confidence, too many uncertainties to deal with in typical job use. Basically nice toys, but I'm also curious (though doubtful) if Deity manage to reverse the laws of physics (and economics) with these yellow boxes.

In cars you don't move the mic, so they work just fine. In my experience they don't rumble much more than a Schoeps MK41, so if you know how to engage a low cut filter, your chances of getting usable audio are good. Put a foam on the capsules in the car and you're good to go. Of course the Oktava "colette" is about twice the length of the Schoeps so they're not that easy to hide. But I like them for their versatility. Also have used the figure 8 adapter for the odd M/S recording. I wouldn't choose an Oktava as my main mic, but it's a useful addition any day. I don't know about your seller's return policy, but if it's amazon-style I would just order another one, compare them and return the one you like less.

I Might try that. Cool btw, didn't know Ben Stiller was into sound! 😂

If it makes you feel uneasy you might wanna send it back. But like has been said, pay more attention to the sound. These mics will look pretty dingy quickly but will last very long nonetheless and plus they do sound great (I've never heard a modded one but love my original MK012s.) Actually the first microphone I owned, and still use them quite regularly (mostly with the Colette style cable for car interiors).

This also means new US transmitters (with 50 KHz deviation) will work with EU receivers (vice versa they already do). Not sure about legal issues but technically it should work. Maybe as a consequence companies like Lectro won't have to make different US and EU versions anymore? (Thus saving R&D and time)

I switched from 7506s to Ultrasone HFI780. Same size earpads, better isolation, better fit, better sound. Not as cheap though...

that might also be their "customer is always right" policy... I've had Amazon refunds paid before I even returned an item.