Mungo

Been using AES3 and 42 every day on the 833. AES3 for Sennheiser EK6042 receiver(s) and AES42 for the Neumann KM-D microphone with supercardioid capsule. As SCI mentioned, connecting the receiver via AES3 always sounds so much better, even when both receiver's analogue output stage and mixer's analogue input stage are great quality. When mixing analogue and digital sources you have to be aware of latencies. In most cases, analogue is "faster" (esp. hardwire connected analogue mikes), but sometimes vice versa (e.g. when there's DA-conversion taking place in the receiver). I always look up the specs.

You could use FM transmission from the follow car to the car audio system which must be set to a very low volume. If you mount the FM tx outside and high above ground that should work fairly, especially in a non urban area as mentioned. Also because car audios usually have a quite good reception stage. I know about shows here where the other way round is done frequently: director crew in the follow vans listen to the recorded dialogue in the play car via their car audio.

+1 I've painful experiences with bad antenna cables and SMA Whips which obviously looked like in perfect condition. Could be some issue with the SL6 antenna distribution, some loosened connection inside or so.

Not really reliable and some kind of unpredictable for serious work, as Codyman mentioned. It may run very well in the one moment and in the other there's a dropout produced by some random mobile device around. Very bad too: wireless video, wireless focus and wireless DMX controlled lighting units (worse!!). But: I've been using 2,4 Ghz audio devices for any purpose which are not important for the product, e.g. camera return. That makes sense in my opinion since it doesn't steal me UHF frequencies neither produce intermodulations harming my mikes and hops. I have no experience though with DJI, but with "China-no-name", Rode, Sennheiser and Deity. Deity is most reliable by far, but that is achieved by too much delay.

Been working with Schoeps foam and Cinela Leonard. Foam is not so effective and attenuates high frequencies. Very slight, but I believe hearing a difference to a "naked" Schoeps. Only use it for sitdown interviews when people tend to blow air in unexpected directions while speaking. Leonard is nice: quite rugged, very effective, neutral in sound and the additional fur allows occasional shooting outside. Of course the fur is not suited for heavy wind, so you can't use it by the sea or in storms. I do much TV stuff where there's much switching between shooting interior / exterior and this is a nice solution for this. When shooting only outside I use a windshield kit of course (and a different mike).

Speaking of Walkie-Talkie-like Intercoms: Even with analogue, if you get it working, it will probably sound horrible due to the different compander modes. Pumping and noisy. Additionally Walkie Talkies are very narrow band (e.g. 20 kHz) while wireless mics / IEMs are up to 200 kHz. Also Comm systems like that aren't designed to receive audio all the time. While receiving they consume very much power and may get hot. Some systems will quit permanent reception after a while.

Cables beside XLR only available for ZMT and A10? So you need a transmitter that provides real 48V Phantom power to make it work. Anyway you can use an UMP box or adequate with other transmitters. We are used to this. Or a plug on tx.

Seems also a post production issue. Probably they saved money (aka time, pro gear and qualified staff).

That NT6 is quite interesting too. Since it's like the NT5 there won't be downsides. Researching mikes which are beside our daily work is quite interesting btw. I came across the Blue Hummingbird. Does anyone know that?

Had similar issue, but I fear it was less worse. That helped: *Very* thin watchmaker's screwdriver into the rim, pushing and wiggling and pressure air at the same time.

Thank you all! Unfortunately only new equipment will be bought. I'm going to check for MBHO, that seems an appropriate solution. Obviously they offer a version with low power P48 consumption and a capsule w/ high output optimized for speech. That meets demands quite well.

Thank you, Jez. I'll have a look. Indeed I had the 8000 series in mind too, but that's nearly the same level as Schoeps, Neumann ... Of course I would like to use an MK4! But it's a more or less permanent installation that will be operated by some non professional. My job is to recommend a mike, let them purchase it and install it in cooperation with construction department. Camera and light guys also just make a concept, install and make it work stand-alone.

Hi, I was asked to plan an audio recording opportunity for a simple one person video recording booth (yes, for social media). A good audio solution seems to me a small diaphragm from a below suspension with a swivel like that one: https://schoeps.de/en/products/accessories/accessories-colette/gvc.html But Schoeps is way too expensive / *too good* for this project. Only alternative I found was from Oktava, but I don't really know that brand ... Do you know anything else? I thought of AKG, Audio Technica, Beyerdynamic, Rode in the price range up to 500€. Or is there any XLR swivel on the market I could combine with a very short small diaphragm? Thx in advance!

Yes, since the DWR-S02 is Sony 15 pin slot only which means unbalanced out and 7 volts input only (native on the sub-d, active adapter required for more features, like the DWA-01). The DWR-S03 offers Unislot pinout as well so you can easily build passive adapters like that one I mentioned above.

Yes, for the successor DWR-S03 https://www.hlaudio.de/sony-pro-audio/hl-audio-dwa-03p25-a.html In this setup that may be the lightest mobile receiver on the market. Both analogue or AES out.

- 24V or even 48V system? I guess there are such batteries and cameras. Same D-Tap, other voltage. Dangerous and not good anyway. - Jim's approach: What if the ground (-) of the power supply was faulty? So (+) was fed correctly into your receiver, but all ground connection went through your audio connection (shield) and so to say through the audio stage. That would explain why audio is damaged now but still an led burning. Well, whatever happened: What a mess, I feel with you

You could use a "hot swap" battery plate in conjunction with an XLR4 AC/DC power adaptor. Such plates are available for several cameras, e.g. for FX9 https://www.videodata.de/shop/media/products/BEBOB_COCO-FX9-V_Manual.pdf. You could just use them without camera of course. That won't charge the battery, but you have a trusty supply. Those hot swaps, as far as I experienced, are a quite mature technique, allow switching from battery to AC and vice versa without any interruption.

The 8-series exceeds the maximum current draw specification* for Hirose - that's why there's a TA4 input and not a Hirose. So if you want to do it right, solder yourself an XLR-4 to TA4 power cable. * only in extreme usage (operating and charging NP batteries at the same time)

The DWR-S02D series needs only 7 volts so the manual says. All slot in adapters like the DWA01 provide a step down to 7 volts to make that rx operate - so your bag would probably work without any 12 volts. You could make a fitting sub d yourself ...

Hands-free? Maybe have a look at sports referee com systems or, even better, horseriding comms like Ceecoach ... They're Bluetooth based, but range is practical.

News to this thread: It works well, very well, at first impression. No distortion, no noise, quite clear and rich sound. I can't say much about the exact output level and about low frequency respsonse. That will take some time for examination and I will write it down here. When switching parallel to a camera hop transmitter (Sony DWT-B01N), there is a slight level drop (about 1-2dB), but still good sound.

Experienced the same on a rather up to date MacPro. I spent a lot of time trying to make it running, installed Virtual Box, ... and gave up at some point. I have been using it on a Windows 11 Laptop now which works well. Since the software is absolutely extensive and great I rather can't complain. My personal advice: Get a used small Windows Laptop, use it in combination with the RF Explorer as a stand alone solution and don't be upset any more.

The 6060 has 134dB max SPL which may not be sufficient for amplified singing on stage, musical instruments like brass or inside a helicopter. But recording dialogue, even shouting, will definitely not distort the mike itself. A rather common value. As Matthias mentioned, it more depends on the transmitters' input stage. MTP40 handles up to +6dBu (when delivering bias) that's industry standard, but not sooo much. But much more than the mentioned ZMT3 (-30dBu, really???). Other transmitters take up to +24dBu or more, so your question could clearly be answered. I guess there is no other choice than trying it out, maybe carrying your kit to a local dealer. I just tried out once a colleague's 6061 and it has about the same level as the MKE1. On the SK6000 I discovered no noticeable noise. Great mike.

And 152 dB max SPL. Seems definitely designed for brass and strings not for thin voices 😞

Someone over here had a similar job recently. He solved it with his MixPre 10, which was quite satisfying for recording ISOs. Multiple cameras, timecode synced, no camera hop, but some IFB rough mix (I guess it was Sony UWP-D) for producers.