codyman

USA pricing according to Gotham's email.

Slick little unit and cool it pairs well with the Sound Devices kits. Interesting that it is priced $200/unit above Zaxcom's ZMT4 though.

Not an issue, the patent from zaxcom was licensed so globally should be good?

Hopefully. Vacancy rates were low single digits BEFORE the pandemic so I can only imagine what it takes to book a stage these days with the big guys booking them long term constantly. I think more and more things will be shot on stages, especially as the tech for these LED walls keep getting better and better like they use in The Mandalorian. https://www.latimes.com/entertainment-arts/business/story/2020-02-07/los-angeles-studio-soundstage-space-film-television-production

Decent turntable and I'm sure that Grado cartridge sounds nice. I had a similar albeit later model Pioneer at one point with a Grado Black series cartridge and it sounded pretty good. Here's all the schematics / transitors / maintenance for it: https://www.manualslib.com/manual/953611/Pioneer-Pl-570.html#manual Personally, I'm more a fan of belt driven, manual turntables because these Pioneers got pretty complicated with the auto start / stop / quartz lock etc and I ended up parting ways with mine once it started acting up and I picked up an Orbit U-Turn table that I use with my Marantzes / Klipsch Heresy III's. You'll get a million subjective opinions on turntables but my main approach is keep it simple!

Might be best then to record LTC as audio on the cameras. Something small like a Denecke JB-1 or Tentacle could record the LTC itself into the audio channels of the iPhones/DSLRs etc and then they can sync that via Resolve in post. That being said, you'll probably lose your onboard audio since most of those cameras seem to either let you use onboard or external but not both (then again, who wants to use onboard DSLR or iPhone audio anyways?).

Honestly, a good old fashioned timecode slate is your easiest solution.

Sennheiser 8060 is a nice short mic (so that it doesn't poke into view on the wides) that picks up dialogue well. On a few of my docs I'll throw one on camera just in case we miss something on the proper boom / lavs.

Looks neat but those wheels seem like they would only glide over pavement. Also the powering solution is PSC PowerStar priced (which is a fantastic tool) however this one doesn't cater towards the DC crowd.

Countryman B3 are affordable, robust and sound good too.

I do both (About 80-85% Production and the rest post). I only take on commercials and documentaries for post these days though as I can't dedicate the proper amount of time for a narrative given I don't have a setup that is proper for Foley or ADR. I have a stable of documentary clients and it is nice to be able to fit in a short doc here and there between on set days. In all honesty, I increasingly wish I was 100% production sound as the years go on but I find it silly to turn down lucrative quick and easy post edits and mixes. ALWAYS bill hourly on post. Don't get caught in a flat rate trap as they always will milk you for all its worth!

That's a pretty cool little tidbit/trivia from that very fun scene! If you still have the minidisc player / the disc that you used for playback on that scene, I bet that would be a fun little display at a museum somewhere (new Academy museum?). We even studied that scene as early as 2006 at my film school (Chapman University / Dodge College) as an exercise in editing as well as Trans-Diegetic sound.

I got my unit this weekend. Paired fine to my phone but refused to play any audio? Did a firmware update with it via the app (which took almost 20 minutes for some reason) and now it is playing bluetooth audio fine. I haven't had a change to hook it up to a wired connection but seems to sound pretty decent considering the size and lightness of it all. Will play around more with it later this week when I have more free time.

I'm assuming when they say "only available in manual mode" they mean that you can tell a transmitter yourself to go to a specific frequency remotely, however, the showlink's auto mode of this isn't available to keep an eye out for you and switch things when needed?

The Nova + MRX414 + 4x ZMT4's would probably conquer 90% of my work. As much as I love my Sound Devices / Lectro combo, the older I get, the more my back wants lighter and simpler combos...

I used to use the MM1 + Lectro combo for my boom ops but switched to an HM + R1a for listening for my ops due to popular demand to not have to unplug from the MM1 to rest the boom etc. Sonically, I think they sound the same-ish? AD3 seems nice though and $999 is hard to beat for any proper digital transmitter. A bummer that Shure's micro transmitter is $2499 which is quite steep compared to the competition.

I've grown increasingly accustomed to the idea of using a wireless boom via my Lectro HM transmitter for my doc bag gigs. Obviously it is a lot of run and gun and I like the idea of not having to deal with a coiled cable so that I can simply ditch my boom easily to throw mics on people or just set it down when it is not needed without having to unplug/plug back in all the time. I've been giving it a shot, however, it seems that the 100mw power that it is locked to is creating huge intermod problems (despite me planning out frequencies) as I'm getting RF hits here and there when the HM is turned on, but none when it is turned off. I've noticed too that when I have the boom close to the bag, it will light up a lot of my other wireless channels. My bag consists of a 633 with a PSC Four Pack loaded with a SRc and SRb hooked to Betso Bowties as antennas. I'm assuming the only way to fix this issue is to get a phantom powered transmitter that spits out at a lower power setting or switch to something that is digital like a Zax ZMT4? I've also tried to put the HM attached to the pole by the mic itself so it's further away from my bag when extended but it still seems to cause issues. Any thoughts or ideas would be appreciated!

Funny enough, I just ordered one of these last Friday and it is supposed to be delivered to me this week. I was tired of lugging around heavy PA speakers + trying to run mains to it for power so figured I'd give it a shot. This "bug" / feature makes me a little nervous but I'll still give it a spin and see how it goes...

True, just figured maybe the trend was heading that way for other manufacturers too. We've had two channel slot receivers for 10+ years now (Didn't the SRa come out in around 2009?) but then again, we're talking about specialized equipment here and not the latest iWhatever which is going to sell millions of units per month so the R&D money I'm sure is what it is. I'm not trying to rant nor complain but I'm just always curious and anxious as to whatever the latest piece of kit will be in our line of work!

I have a single channel 1u rack of Shure UHF-R I keep around for a handheld mic if needed. I'm always amazed at how crazy the range is on that thing even if you're only using the factory whip antennas attached to the back. Should be interesting to see what they've cooked up for the mobile field although I can't help but notice in the teaser video that all I see if RX 1 and RX2 labeled on it so maybe just a simple dual channel slot receiver? Would be a bummer if it is indeed only two channels rather than the more increasingly needed four.

If I've learned anything from this forum, it is to buy "pro level but used". That being said, I'd go with the MixPre6 over the F6 if forced to choose between the two. Don't bother wasting your time with AA's for it, either get the L mount sled or a hirose adapter. Look for a lightly used one too to save some coin for these much needed accessories you'll want to pair it with.

Does the usb-c audio interface on it support both stereo in and out audio? Might pair well with a little MixPre to make a mini ENG rig that could spit out audio + TC to cameras but by using the USB audio instead of the unbalanced connections on the lower end MixPres.

I mean, good on them for finally getting it out the door. I don't blame them for the delay given how 2020 made the earth stand still for a bit. Looking forward to seeing the final unit and possibly purchasing several for camera scratch + TC.

I've owned both and I prefer the betsos. Easier to strap to the front of my k-tek bag and they stay out of the way vs I felt I was always fighting with the SNAs. I haven't done any scientific range tests but both seem to comparable to me in that regard.

Reason #2,633 on why to love Lectrosonics. Off to film in ABQ starting Sunday, are the rumors true that if you are close in the vicinity of an SM series' homeland of Rio Rancho, the tumbleweed gods bless you with great range and no drop outs? Then again, who am I kidding, I rarely have an issue with Lectro's and if I do, usually it's a user 1D10T error 😀 (also I checked your convenient spreadsheet online and it looks like it will be easy sailing with my 19/20 stuff).