Bash

I meant to say yes please USB - it can then double as charger for Nanolockits and/or Tentacle etc..... sb

Also still interested. Integrated PSU if poss. If SM PSU then it can do 110-230v surely.... sb

What a great idea, let down by some really unmemorable sound FX - surely they could have done better than that? Things like the 'thwacks' and the ball bounces etc - the mics look so close, and yet the FX sound limp. An opportunity wasted methinks......

Copper (wire) is almost always more reliable than radio waves. Power from an AC outlet is almost always more reliable than batteries. I understand that your over the ear mic needs to be wireless, and the handheld. I would consider to build your mixer into your case etc.. such that generally you can plug it into AC, and that the AC might power everything in that case. Battery backup should be the option, but not the rule. I would consider, as a general rule, having the mixer nearest to the iPad, and connected bu wire - can this work for your act, or does the mixer need to be on stage next to you? If the mixer is next to the iPad, then I would consider a short, medium, and long cable which can be used (or joined on to the next to make longer) to connect to the house PA (with a number of adaptors to accommodate whatever type of IP the house PA uses. The above involves or suggests an amount of compromise, but should offer a scenario where you are using RF where you need to, but have wired connections for some links, and this should be more/most reliable. Good luck. Simon B

I always rather liked the British affectionate term for the actors.... 'turns', as in 'bring out the turns', or 'fetch the turns'. sb

I did this for many years here in the UK on scripted drama. Generally it worked fine, as on many scenes it was pretty obvious that either the radios were working best, or the booms were. Generally I would monitor (mostly) the mix that I thought would be the one that the editor would prefer for the scene, however, sometimes this might not be clear. It would mess with my head if I felt that both mixes might or could be used, as I would want to monitor/mix both..... and I am not that ambidextrous 😉 Often, I would 'throw away' the radio mix (ie not mix it or listen properley) for the wide shot, as I knew that the booms would be nicer for the close ups, and it wouldn't matter for the wides. More recently I find that most productions just want one track of mix to work with, so I mix the radios into the wide shots, and then take a view on which to send to the mix for the close ups. I like the idea of sending booms to one channel post fade, and radios to another channel post fade, but for me to be monitoring both (in mono) whilst mixing. Edit can then sum the two mixes to get what I was hearing in my headphones. That said - I have never been specifically asked for this. I I were in your situation I would go and see and talk to whoever is asking for split mixes and discuss. Hope this works out well in the end. Simon B

Everything Audio West End DJ sb

5G - this is the next big thing!!!

She is WAY to modest - not only has she been nominated for awards and won some.... she has one of the most alternative ways of looking at the sound recording process ever. Really she is a poet, who ended up being a sound recordist to make a living 😉 Oh - and she is a dear, dear, person, and I had one of my most memorable lunches ever with Jan. She is genius 😉 sb and on a more practical note...... I pinched a small module from a talk that my chum Richard Merrick here in the UK gave. He does a great couple of slides about other mics vs the 416. He does eg the best mic for recording a commentary might be a U87, but a bloody good 2nd best is the 416..... the best mic for recording a sit down interview might be the Schoeps CCM42, but a bloody good 2nd best is the 416, and so on. I don't have a 416, but they are bloody good, bloody reliable pretty much anything mics. Buy a 2nd hand one and it will serve you for years. Happy listening.... sb

Both Aaton and Zaxcom Deva have had this for quite a while - the ability to alter what goes to which OP depending on the mode of the machine, including NO OP in certain modes. I cant remember if there is a similar feature for Zaxcom Nomad. If you use this feature, and it is automatic - what happens to the clients/agency headphones during a rehearsal? Have fun y'all, Simon B

A great shame - this was a good machine, with great potential.... Ho Hum...... sb

Looks like the boom is becoming later, so.... could the person speaking be moving slightly further away from the mic, ie mic is set for person sitting forward, and when they lean back they just doubled the distance between mouth and mic? Lav would stay constant as it is still similar distance from their mouth? sb

Izotope will help, BUT... you will need a well experienced operator. It will take time, and will cost $$$. Lesson learned methinks - hire a pro....... Good luck, sb

Have you tried Go Button on an IoS device - the free version is full function, but can only remember one playlist. I love it. sb

Hi Jan..... trying and succeeding in being a poet, a wit, a mentor, an inspiration, and an all round cool dame. Actually.... it has a good ring to it.... Dame Jan McLaughlin - I shall have a word with the powers that be over here now ;-) Simon B

ISO trax?

I am so confused........ sb

Oh go on then - spread the rumours??? sb ;-)

As it happens. I am currently running a Sonosax SX R4+ as my bag recorder. I am loving every minute with it. Great mic amps and it is so, SO, tiny and neat.

First Sense in the UK were doing integrated belts about 20 years or so ago (I just checked their old website on waybackmachine). I am not sure how long Neopax have been at it but I am pretty sure they were not the first (their earliest website on wbm is 2011) . That said, they may well have been the first in the USA. ;-) Simon B

A classic maintenance update. I shall give it a try out tomorrow ;-) sb

I am with Chris - have a listen. If it sounds nice then use it ;-) sb

Maxx preamps will have NeverClip if I remember correctly. Fusion does not have NeverClip. It has to be said that Fusion is pretty much a legacy machine - they have not been made for some time now. The only real issues I ever had with my Deva 5/5.8/Fusion were with the touch screen, and the power supplies. If dirt gets between the screen and the bezel then it can play havoc with the touch screen. This is fixed with cleaning. Some people have had issues with the internal power supplies, but it is an easily fixed issue. Fusion is/was a great machine - I used mine happily for 10+ years. Simon B

The problem with very tiny (and thus very light) mics is that it can be very tricky to achieve a successfully isolated suspension, mostly on account of the lack of mass in the mic. I see that Sanken are offering a suspension mount, but to my eye it doesnt look too hopeful, nor does it look like it will integrate with a basket for outdoor use. I'll be interested to see what the windshield people come up with for this. Simon B

Remember that on Nomad/Deva there are essentially three different mix matrices..... input to trax, input (and trax) to output, input (and trax) to headphones. What you set in one matrix may well be different from what you set on another. Input to trax will set what you record and where. Input to output will affect what you get at the physical outputs whilst recording, and maybe different depending on record mode and playback mode. Input to headphones will set what you hear in your headphones. Be aware that almost all crosspoints can be set pre or post fader, and can be in or out of phase. What you see on your meters may well not be what you are hearing in your headphones. The Nomad is an exteremely powerful (and thus complaex) tool. Find an ideal setup (or two) and memorise them so you can always get the machine back to a known state. Good luck, Simon B