afewmoreyears

Call them before you do anything... Here's how I understood it.. and it may or may not apply to the SSM units.. I did want to update on my SMWB units and was in need of info about that..Mine was the first one made for sale... I wanted to update it to newer firmware..they told me not to..my unit is best to operate on the firmware it came with. Units made much after mine in fact needed updates..it's a bit confusing..and it's not like say SD recorders that want you to update each time a new one comes out.. Again, call first with your serial number and ask..

Your 216 has frequency choices.... if you shut off the trans. and a plugged in receiver unit blasts with noise....change to another channel... you have them there for a reason, use when you need to... I will admit, it almost never happens to me... but, if it did, that's what I would do. If the problem still exists, leave the unit powered all the time... If necessary announce a batt change so people know...when you get home, try again in a different area and see if there is still the issue... You can always call them, they are really nice and will possibly have other ideas... or send in if need be... crap happens... Normally my units are and have been rock solid for many years...

I love the "worlds smallest beltpack for a RODE lavalier" a bit misleading... It may be the smallest for their product line, but not others.. The gigs I normally do need all that the better transmitters can put out... I'll let other folks show up to jobs with these... They may have their place... but not on my gigs...

MAYBE..The more the battery depletes, the worse the data travels over a connection that is dirty I would imagine.. That being said, the trans. is supposed to deliver the proper voltage till shut off... so... I really don't know..

This....

I for one have never used an ext. cabled pole, nor has my boom ops... I would much rather have the cable inside... Never had problems with noise.. The ONLY way I would use the external is if my internal broke and I had no other pole.. In the end, to each their own. 99% of the time we're wireless anyhow, so no cable is actually best. Shorty to the transmitter..

This.....

Thanks for the clarification...

Left rotary knob?

A good room, and a good mic, could be any good mic.... with proper placement will sound just fine for the podcast.. If your thinking of a cheapie, why not just use another good mic you already have and be done with it... Your isolation will come from placement, your room... and the quiet of that room you are given to work from.

This: I say, just run your normal system.. if it fails, swap it out. If you have a backup mix recorded, your already doing your something extra. I'm with Robert here... It's like dragging around another car in case yours fails.. If the camera fails, they don't normally use the backup one they have set up on the same shot just in case.. They swap it out. Gear fails, running extra gear for the extremely low failure rate just doesn't make too much sense. That being said, do what YOU feel is best regardless, these are simply our opinions.

Any country that will see your advertisement and buy your for sale items... The legalities are up to them..

Yeah...what happened??

"And why should the OP stay up all night trying to make this work? It's really not his job to production manage the job, is it?" He shouldn't, he should sleep well, show up .. do the job, go home, cash the check. It's not that big of a deal.

"I reached out to the associate producer and explained I was a little confused as to what I will actually be doing and was told I may just be recording the performances from the house AV (or desk, I do not know!)." I would... Communicate as best you can, prod a bit more for info, introduce yourself to the FOH and monitor guys or gals and let them know what has been asked of you and for permission to simply get a feed. They should be nice enough to help you out. Show up, take a feed from the house into your recorder..L and R.. Bring other mics, a stereo mic or set up to record a house mix from the PA, a crowd mic pointed back at the crowd and do what you see fit once you get there.. Play it by ear... they said probably take a board feed, run with that, anything you can do other than that is a bonus for them.. Yes, bring your bag of connectors, cables and anything else you may THINK you will need. I am sure there is a staging area... better to have stuff on site than not. You'll be fine.. You'll probably learn something, there's value in that too...

I'm just the opposite from Phillip. AC all the time unless I need to be battery only. We always have Generators and a crew of Electricians. UPS/Surge etc. No problems to date. I think I can get @45 min for moves and such without shutting down.. If I'm somewhere funky, it's the Honda 2000.... but always AC.. Bag rigs and mini cart, DC.. I will use a Pelican 12 volt and run it all if need be. Whatever works..

I had that warning about power only once, plugged in a Droid phone charger into the back of my cart, into the mini USB, power up mixer without the power plug into the ac on back of my cart and it always works fine..as soon as the CL-12 fired up, I re-stab the AC for the CL-12 back into my cart .. never happened again.. nor has my unit froze up since that start up sequence.. That's my sequence.. I'm sticking to it..

Yeah, sometimes they are so nervous that the feed may be on due to their directing the talent in such a way that is not what the client agency would approve of.. They may want a different direction and would rather have them see their vision first rather than argue about the direction they are heading in. Also, they (talent or director) sometimes say things that nobody should hear...LOL Like, "who wrote this S*it," or, "this is the dumbest crap I have ever been involved with..." They just want to cover their ass and have it off. Much of the time, it's the producer who actually wants it off knowing the director or talent may say something harmful.

Then I'm back to having to pod him or her down again.. AUX 1 or LEFT output... 20 people, script and the director all need to be auto muted.. If they hear audio between takes they think its going out to everyone. I think the false take is the best option. We shoot most rehearsals anyhow it seems, so recording the take 50% of the time won't matter.. the other takes, just false take them..

I was thinking about that and will record the take and simply false take it..it's really quick...

Yeah, my bad...two people at the same time after the same install seeing the same thing threw me the wrong direction. Firmware is and was fine. All was well after factory reset...reset all the settings and it seems to be working normally.

Re setting to Factory settings has it up and running... NEVER had to do that before, but it works.. We'll see what happens when I re load all my normal settings.

no....no.... the website STILL lists 4.60 as latest.... I think it MAY have an error not allowing audio to pass AT ALL to the Aux outputs.. Waiting for clarification..

Uh oh... After firing up my 633 after the update I too can't seem to get audio out of the AUX outputs... with the auto mute on or off.. I have not dug in yet but thats what I found as well.. Slate mic I can hear out of the output to comms, and tone as well... but no inputs... I ran through the menus and saw nothing glaring... There may be , and I'm just saying, maybe an issue with that firmware.. Call the mothership in the A.M.

Interesting concept... Until something moves in this direction...if ever... I will probably give a small announcement each day explaining the feed is cut between takes.