Chris Durfy

First days with the Sound Devices 552 Mixer/Recorder I got my 552 yesterday. First things first, let me say wow, as a first impression it’s freakin’ awesome. So, what is the 552? Well, take a 442 mixer, add an extra input channel, then add a 2 channel recorder with time code input, then make it way more configurable and easier to operate, add a bunch of informative LEDs, add a weird sounding talking menu system and while you’re at it, add a talk back circuit to boot… all in a package ½ lb LESS than the 442… and voila – the 552. Here is a list of the most noticeable differences between the 442 and the new 552: Front panel configurable Remember all the switches on the left side of the 442? Well on the 552, they are gone. Instead, the options for mic/line levels and phantom power are all accessible on the front panel via use of the channels PFL(Pre-Fade Listen) switch in concert with the slate mic switch to toggle settings. The Knobs & Switches The Input Faders are now contoured differently and sport a silver knob on the tip of the fader for fingertip control. (I call it the “Suicide Stick”, because it reminds me of the old steering assist knobs on older style school buses from waaaay back in the day). I really like the feel and response of the new faders. The Coarse Gain, L/R Pot & Low-cut Filter knobs all have the same look and feel, The only exception is that the Course gain has an additional 12db of upper end gain than the 442 had. (22-72db on the 552 vs. 22-60db on the 442). The Headphone Volume knob is now a digital knob with a built in button. Not only does it control the headphones volume, but it also controls MUCH more. When the Headphone knob is rotated, The VU meter reflects the level of the volume. The volume controller also controls secondary functions such as the menu, LED brightness and return level control, depending on the button or switch being held down, then using the volume control to adjust setting and make selections with it’s push button. Simply pushing the volume button engages the zoom function on the VU meter (which is a mode where it shows you 0 to 20 on the mixer only, but spread over the whole VU). The PFLs operate differently from the 442. Rather than the “press and hold” switches on the 442, when you slide the switch and let go of the PFL, the channel is soloed until you slide it over again. The Slate Mic/Tone switch is slightly changed too. When you quickly slide the slate mic switch and release it, it solos the slate until you slide it again. If you press and hold the slate switch for more than a moment, it releases the slate mic when you release the switch. The tone switch no longer latches. Instead, it acts like a press and hold button, but when you hold it on for two seconds it stays in tone mode until you flip the switch again to release it. The slate mic level is adjusted by holding the slate mic and turning the headphone volume knob. A visual level shows on the VU meter the volume change. (This may SOUND complicated, but it’s very intuitive once you do it for the first time!) The Return switch for A & B returns now have LED lights showing if they are active in the headphones. You can adjust the levels for the headphones by holding the switch for the return on and adjusting the headphone knob to raise or lower the levels. A visual level shows on the VU meter the volume change. SVEN (Synthetic Voice Enhanced Navigation) SVEN is a voice driven menu system that talks to you through your headphones. Frankly, he is a little hard to understand at first, but as you become more familiar with”him” it starts to get easier to understand him. SVEN announces individual menu choices and options, record/play status, time of day and recording time remaining on the card. The first person who figures out how to hack the 552 to get SVEN to sound more like a HELEN will get some serious kudos from fellow sound mixers. ;-) Built-in Recorder The 552 incorporates a high quality two channel WAV/MP3 Recorder. It records in 16 or 24 bit and up to 96Khz WAV files. It accepts incoming timecode, but does not generate it’s own. Timecode needs to be fed into the mixer via a TA3 connector on the right side to sync the device with a camera/s. This could be done a number of ways, such as hardwiring, or the use of a lock-it box in the bag with the 552, or even running a wireless transmitter on the camera sending timecode out to a receiver in the bag to the 552. The 552 automatically changes it’s timecode settings to reflect the type of incoming timecode. The file saving work flow saves each day of recording in a daily folder (Year, Month,Day, 09Y10M15) and records filenames in order of recording (Y,M,D, # – 09Y10M15-001.WAV). It also has a max recording size of 2gb and automatically splits to the next file when it reaches the limit. Pressing and holding the Battery Check button enables SVEN to tell you how much recording time remains on the card. You have to remove the card and mount it in either a Windows or Mac system to transfer the files. The USB connector that is next to the card is for factory use only and does not allow you to use it to transfer data. Another nice feature of the recorder is the ability to playback files to headphone AND/OR to your source mix or IFB. To enable Output/IFB playback, hold down the Battery Button and press the play button. There is a small chance of bumping the record toggle button, but I don’t think it’s that much of a problem, but a record switch lock might be a nice future addition. The Menu Getting into the control menu is much easier and can be done without having to turn on and off the device. In fact, it can be operated while actively mixing without interrupting the program! To access the menu, hold down the Battery Check Button and click the Headphone button. SVEN guides you through the setup of each function. He takes a little getting used too. Use the volume control to guide yourself through the menu items and use the volume push button to choose your selection. To exit the menu and accept your changes, simply push the battery check button. Menu items are quite diverse and there are many more configuration options than with the 442. Talkback Function When the talkback function is selected in the menu, the 1/8” headphone jack is split off (from the 1/4”) so that the slate mic appears in the right monitor of the boom operator’s headphones for discreet communication from to the mixer. In this mode, the slate mic does not go to program mix. There are various options for what gets routed to the boom op. As of yet, I’m not sure if it can be configured to allow for a talkback from the boom op. New LEDs There are a lot more LEDs on the 552 than the 442. Whereas the 442 had Level , Headphone, Peak, Limiter and Power LEDs, the 552 has many more informative LEDs than it’s predecessor. Each pot has it’s own channel specific LEDs that show the status of the channels phantom power and line/mic status. Some channels have other LEDs for Phase, MS, and Channel Linking. There is another LED directly above each pot that I particularly like: the Input Signal LED. Where as the 442 had a Peak & Limiter LED, the 552 now has a single LED the changes colors and brightness depending on the level pushing through the channel (green, yellow, red). It also changes to an off-yellow when the PFL is activated on channel to show that it is being soloed. LED Brightness is controlled by holding the battery check button and turning the headphones knob left (-) or right (+). There are MANY more levels of brightness steps than the 442 five steps. Other LEDs: -The Record LED changes colors to reflect current recording/playing status. It blinks yellow if no SD/SDHC card is in the slot or if the card is in, but remains unformatted. -The Zoom LED lights up when it is engaged. -There is also a LED on the front that lets you know if timecode is actively being fed to the 552. -Just like the 442, the Headphones LED will glow read when the headphone amp starts to overload. Other noticeable differences: -Supports AES Digital outputs. -Return Loop back ability (Takes the A&B return and sums them and outputs to Tape Out and Mono Mic out) -Split ear Return Monitoring (Listen to A Summed Returned in left and B Summed Return in your right ear) -Left Tone Oscillator function (to check to make sure your left and right channels are properly set on cameras) -Time of Day Date/Clock What’s Missing? Not much really. One thing missing from the 552 vs the 442 is the option for T power mics. All you 416T users are going to have to upgrade or get a Phantom to T power converter. I also wish the 552 had a built-in time code generator. Maybe the 552T is in the future? We can only hope! In Conclusion: I really love my 552. It is an huge step forward in field mixing. May the 442 rest sweetly in heaven… and the X5 burn baby burn! Long live the 552! (I will say that I used to have a Wendt X5 and it served me well for many years, even though I had many particular issues with it (limiters, channel bleed, etc.) ) You can view this post on my blog with the picture gallery at: http://blog.chrisdurfy.com/?p=130 More information can be found on the Sound Devices website at: http://sounddevices.com/products/552.htm Chris Durfy, ATLaudio.com

I got mine about two weeks ago. Love it. -Chris

Lectrosonics SMQV: First Impressions Super Miniature Quarter-Watt Variable Transmitter Street Price: $1325.00 I’ve been using SMD/a style transmitters from Lectro for a while now and have found them to be a very valuable tool in my sound arsenal. While they aren’t as small as the SMa’s, but they do offer a better balance of size and battery life for the type of jobs I tend to do. Enter the SMQV The SMQV is Lectro’s latest offering. A variable power transmitter that is in the same form factor (and in fact replaces) the SMDa, SMQa (as well as replacing the UM450). Now, most people are now familiar with the SM line of features, so I’m going to point out what is new in this transmitter. I will say that the SMQV performs just like the SMa series except for the following differences: 1. Variable Power: this transmitter can switch to various output levels. The standard being 100mw, the full output at 250mw and the smallest level at 50mw. While in 250mw mode, the battery is of course drained much quicker. I’m told you’ll get about a 40+% boost in range along with a much stronger ability to punch through other competing frequencies. It is important to note that in 50mw, there is no power savings over the 100mw output due to internal circuitry but is offered for those who wish to use that output level. 2. Removable Antenna: Now sports a standard SM Antenna (UM style). 3. Auto-on feature: A long requested feature of mine which helps cut down a few seconds of battery change time in the field, the SMQV’s BIOS remembers it’s “on-state”. When a battery is removed while powered on, the unit automatically turns back on when new batteries are put into the unit (similar to the changing batteries on a UM style unit). 4. SMKIT-TA5: The SMQV ships with a kit for wiring most lavs to the SMa servo bias wiring. It comes with a TA5F, back strain relief, a rubber dust boot, some resistors and an instruction booklet for those of you savvy enough to do your own wiring. All in all, I really like the new SMQV. While I like the option of variable power settings, in reality, I bet I’ll keep it at 100mw 99% of the time, but it’s nice to know it’s there when I do need it. My favorite features are the auto-on and the removable antenna. I know that will come in handy more often. Good job Lectro! Pics on my blog at: http://blog.chrisdurfy.com/?p=90 For more information visit http://www.lectrosonics.com/hybrid/sm/sm.htm

Got this in my email this morning: This jist is a new Solid State Hard Drive for the 788T (256g) and the CL-2, a new Boompole mountable remote fader / mini controller for the 788T and new Firmware for all 7xx series recorders, including my favorite change, the ability to change the direction the rotary fader controls the direction of the menu. -Chris Sound Devices Product and News Updates for NAB 2009 NAB 2009 788T-SSD 788T-SSD Sound Devices is introducing a new model to its recorder lineup at NAB, the 788T-SSD. This new, premium model of the 788T replaces the 160 GB SATA hard drive with a factory-supplied, high-performance 256 GB solid-state drive. The addition of the SSD provides several important benefits including: * vast internal storage capacity; continuous recordings of over 60 hoursof 24-bit, 8-track audio, * increased transfer speed versus a spinning hard drive, * increased immunity to shock and temperature extremes, * zero acoustical output. The 788T-SSD will be available on April 20, 2009. CL-2 CL-2 Fader Controller for 788T Sound Devices is previewing the new CL-2 Boom Pole Remote Fader for the 788T at NAB 2009. The CL-2 attaches directly to microphone boom poles and connects to the 788T's C.Link port (Control Link Port). It provides a single, 60 mm fader which can be programmed to control any input or track on the 788T. Additionally, two, two-position switches can be programmed to operate functions on the 788T such as recording start and stop. The CL-2 is powered by the C.Link port on the 788T. The CL-2 is scheduled for availability in Summer 2009. FirmwareFirmware Updates for 7-Series Recorders Firmware updates have been released for all 7-Series recorders. 702, 702T, 722, 744T Revision 2.63 introduces new features and enhancements including: * enhancement: enhanced write algorithm to significantly improve real-time multi-track recording to DVD-RAM even while simultaneously recording to 3 media * new feature: LCD scrolling direction menu enables user to select which direction the rotary encoder scrolls through the menu * fixed: (744T and 702T only): rare TC drift bug * fixed: drive warning corrupt file bug 788T Revision 1.71 introduces new features and enhancements including: * enhancement: enhanced write algorithm to significantly improve real-time multi-track recording to DVD-RAM even while simultaneously recording to 3 media * new: Track-to-Media feature in the Track Setup Menu enables user to route any track to any media in any combination. E.g. Route MIX + ISO tracks to the internal hard drive and MIX tracks only to DVD-RAM * new: tone record lock menu allows user to enable tone activation during record * change: tone latches when tone button is held for more than 2 seconds * new: LCD scrolling direction menu allows users to choose which way the rotary encoder scrolls through the menu * change: improved menu scrolling method * new: alternative option for routing inputs to tracks in the Track Setup menu * new: high-pass filters now available with digital inputs * fixed: rare TC drift bug * fixed: drive warning corrupt file bug Download Firmware Here Be Our Guest at NAB CL-2 Fader Controller for 788T April 20-23, 2009 Stand #N6129 Las Vegas, NV If you haven't yet registered to attend NAB, be our guest. Visit the Sound Devices web site for more information on the full line of Sound Devices products.

Great Post Richard! I do a lot of reality, and that sounds even worse than some of my stories. The worst one turned out to be when the final week of a shoot, I became the Supervising Producer. I was told it was the best week of the whole shoot! LMAO. I'll tell the story when I have more time. Until than, Kudos to you! -Chris P.S. I hope production paid for all to damaged gear!

I was charged $180... but I don't think pricing is totally finalized. You'll also need to buy two SMA antennas (same as the UM400 style). Make note that there are two separate mods available: The SMA antenna mod and the moving (or addition) of the 5/P to the left side of the SR. -Chris

I worked with Aaron on the show with this rig. The system actually worked very well. It was certainly NOT a nightmare. I'll let Aaron give some further details. =)

Yesterday, Lectrosonics sent me back the very first SR/5P converted into a (*mostly) SRa /5P. (*I say mostly because there is one more modification coming; the external 5P connector (a.k.a “wart”) will be moved from the right side to the left so that it doesn’t interfere with Camera operators who shoot from the hip. The machining for that mod is still a few weeks or so out.) As you can see, the SR-SRa revision took the fixed antennas and swapped them out for the SMA style antennas we see on the UM style transmitters. This is being done for two reasons: first, some users wished that the antennas were shipping out 100% upright or had concerns that the fixed antennas could be bent and not easily replaced. Secondly, word is that a future “Six Pack” is in the works that can be developed for the SR platform that will allow the antennas to be hooked to an external antenna array and effectively creating a 12 channel box. As a side note, I also received a beta version of the SR Battery Sled. The sled allows you to mount a Sony Lithium Ion (L or M style) rechargeable battery onto the SR. The sled isn’t just a clip on unit, but also takes the place of the external bottom adapter plate. There is a minor bit of finishing work to be done on the sled, but at first look this accessory seems very impressive and useful for cameras that don’t offer external power. The clips hold the battery in place very tightly and allow for quick and easy battery changes. It also works well in concert with the SR Sleeve mount for mounting to the bottom of camera’s tripod plate mount. Pricing information and availability will be coming to me shortly for both of these modifications and I will post the information as I receive it from Lectrosonics. Special thanks to Larry F and Mike S at Lectrosonics for getting me and everyone else a sneak peak! DETAILED PICTURES on my blog: http://blog.chrisdurfy.com/?p=56 Chris Durfy, ATLaudio

I've had my hands on both the Vclip and the Pro-sound Version. I also found the Vclip version lacking. I had to remove it by pinching the rubber with my teeth. Yuck! You can see the comparison with pics here on my blog: http://blog.chrisdurfy.com/?p=29 Cheers, -Chris

I'm using Um400a's with my SRs. -Chris

I haven't noticed any problems. The closest I've got two different SR's channels are 52 and 62 on block 21. I use IAS (professionalwireless.com) to coordinate my freqs. Also, Lectro has told me that you get better range when the left channel is lower than the right channel. -Chris

I've been using three on a reality show for about a month and my CamOps love them, especially since we quick fixed the heat issue using three pieces of moleskin around the 5P connector (it conducted the camera's heat to the Ops arms while hip shooting). I've been keeping my blog updated with pics and my experiences with the SR: http://blog.chrisdurfy.com -Chris

Third look at the SR/5P I’ve been using three SR/5Ps in Panasonic HDX-900s on a reality show for two weeks (with two and a half months to go). For the most part, the Camera Operators are shooting hand held. They have performed very well and I only have two issues to report. 1)Heat: In the HDX-900, the SR/5P can get HOT. I’ve measured it at 140+ degrees or more. The heat is due to the camera running hot and the SR conducts it very readily. For reference, we are shooting in Atlanta in 90-99 degree weather for ten plus hours. (Note: the unit is designed and tested by Lectrosonics to fully operate up to 185 degrees F and as cold as -25 degrees F. It will also operate down to -40F, however the LED will stop displaying.) The heat doesn’t affect operation of the SR/5P, but it can cause burning and irritation on a CamOp’s arm when used with a Hip Shot (which my operators use OFTEN on this show). Notice the burn line of the 5P and screw in the forearm, and the red irritation on the bicep area. My working solution has been to wrap the 5P in three layers of Moleskin. So far, this seems to help, but I’m wondering if a thermal break could be installed in between the SR and the 5P to help reduce the heat transfer. 2)5P Cable Connector: I’ve had three cables fail at the TA5 right angle. Again, this is a result of frequent shooting from the hip. The camera operator’s arm rests directly on the 5P . It seems that the stress and the heat, in combination, causes the seam in the connector to open up, which precipitates failure in the connection. Lectro has sent me replacements that have heat shrink wrap around them to help deter this. I’ll continue to test them and report back. Lectro is in the process of getting a molded boot created, but this may be some months away from production. Switchcraft is also designing a swivel connector for the 5P, but this could be a ways away. Also at my request, Lectro has been sending my replacement cables using Neutrik NC*MX XLR Connectors instead of the Switchcraft rubber boot connectors. I find the Neutriks to be much hardier when on the back of cameras, as the Switchcraft boots can tend to tear when stressed. The Neutriks are also shorter in length. I also like the fact that they have blue and red colored compression rings that for easy identification of left and right channels. ------------------------------- This post is available on my blog with more pictures at: http://blog.chrisdurfy.com/?p=7#comment-26

Just an update, I bought both the Kata Koala and the Petrol Pegz-1. I tried the Koala, but I wasn't really sold on it's fit and ergonomics. When the zipper is open, the bag doesn't seem secure. So, the 302 is living in the Pegz-1, which seems to suit it nicely. Chris

Hey folks, I'm wondering if any of you have recommendations for full coverage insurance for my audio packages. The one's I've contacted are expensive and don't cover lots of things like gear stolen out of a car's trunk, water damage, etc. Thanks! -Chris

Lectrosonics SR/5P Receiver - A Second Look After The Updates Last week I received the updated SR/5P. The unit had two internal and one external hardware change and numerous updates to the operating system. Hardware Upgrades The first improvements were for two bugs. The first corrected the unit’s diversity and the second fixed the second channel’s battery display. One IMPORTANT note: Lectro tells me that because of the way the SR is designed, it is better to have the first channel be a LOWER frequency than the second channel for performance reasons. The obvious hardware upgrade is the 5P (external 5pin adapter) which allows the unit to work on cameras that have a slot, but only have a single channel activated. Basically, you attach an external TA5F cable that splits into to XLR connectors and attaches to the rear XLR inputs on the camera. While we all wish it worked in the slot, this is a good fix until the camera manufacturers get up to speed. I do HIGHLY recommend you get a backup cable with your 5P as it would difficult to get a replacement on-the-fly. Also, as per my request, Lectro got me some Phillips head screws to swap out for the flat heads in my adapter plates. BIOS Updates New Backlight Menu This is an update I’m very pleased with. Holding down the power and up button allows you to access the backlight menu. You can choose from having it “always on”, “always off”, a “30 second timeout”, or a “5 minute timeout.” New External Voltage Monitor While in operation, hitting the power button shows the external battery voltage. This is nice, but I’d like to see it read the transmitter voltages in the future. Lectro says they’d like to do this, but there isn’t room in the processor memory to accommodate this. RF Metering Lectro has updated the display of the RF meters to respond more like a 411. IN THE FIELD I haven’t had a chance to run all my tests yet. This week I’ve been working with BetacamSPs and have only been able to use the external adapter hanging off the side of a camera. With the limited tests, I must say that the improvements to the unit seem to be rock solid. I’m getting much better range and reception out of the unit and much less touch sensitivity than I had experienced, previous to the updates. CONCLUSION I like it. A lot. In fact, I just ordered two more SR/5Ps to use on a reality shoot that I will be on for about four months where I will be feeding three Panasonic HDX900s (in the slot, with 5P cables). That should be a great test of the durability of the units and how they operate in a high use situation. -Chris Durfy, ATLaudio, http://www.chrisdurfy.com This post can be found on my blog with pictures at http://blog.chrisdurfy.com/?p=7

I randomly came across this on ebay: http://cgi.ebay.com/ebaymotors/Harley-Davidson-Dyna-FXR-Dyna-Wide-Glide-f230w898_W0QQcmdZViewItemQQcategoryZ49993QQihZ013QQitemZ230263980723QQrdZ1QQsspagenameZWDVW note: the guy is an audio mixer from Deadliest Catch who says in his auction description he hurt his wrist on the boat and now has to sell his bike. Crazy. -Chris

I normally carry a 442, 3 or 4 411a'a, 3 or 4 cast um400's and 2 um400 hops, plus BDSv2 in my Pegz-3 (in which I sometimes drop in a 302 or 744t). It also carries all my accessories and batteries. I recently did a shoot with the much lighter Wendt X5 and five 411's in a PortaBrace bag and had forgotten how much lighter and easier on the back that that setup was. I used the Setwear Small AC pouch for all my accessories and mic kits. I want to minimize my back strain and maximize more of my things around my belt area. Any recommendations? Pegz-1? Pegz PPMB? Pegz-1F? Portabrace? Koala? What are your experiences? Thanks! -Chris

Just an FYI - I've been talking about some problems I've experienced with my Lectro SR. Larry would like you to send them back for updating. Larry's Post on RAMPS: http://groups.google.com/group/rec.arts.movies.production.sound/browse_thread/thread/61102cf14a9d1ff7?hl=en My Initial Review of the SR on RAMPS: http://groups.google.com/group/rec.arts.movies.production.sound/browse_thread/thread/3145b90954dab409/f1fcbb03d58a7b63?hl=en&lnk=gst&q=sr#f1fcbb03d58a7b63 Cheers, -Chris

I revisited this issue today and realized the mic was put in the clips in a forward weighted and unbalanced position which was causing the sway/wobble. I tried the mount with the mic properly center balanced and it performed MUCH better. So, that being said, I rescind the criticism. I am going to keep using it in place of my KS-M. The low handling noise and the cable clip are great. One very minor critique: I do prefer the lever tightening screw on the K-SM over the thumbscrew. In my opinion it is easier to use. > > I will give the INV-7 a shot with my lighter CMIT-5U in the coming > days. > I like the feel of the INV-7 with the Schoeps CMIT and a Rycote Softie Windscreen. I think it will perform well in the field.

Hi Jim, I must be using the "normal" one which seems hard, as I didn't even know about the softer rubber mount. I'll be calling Trew in a bit to order =) Thanks for the tip! -Chris

Well, IMHO, in regards to a fully loaded MK41, the INV-7 isn't going to cut it in my opinion on a boom. It's too floppy. I think the CMIT might fair better. I'll post my thoughts after I use it today on a gig. I think the Invision product is very viable in other regards and if it didn't come across above, I think they'll be great with a boom for the compact mics as well as lighter offerings than my modular Schoeps rig. -Chris Here's a shot with the thumbscrew:

Rycote Invision Suspension INV-7: First Impressions I received my Invision INV-7 for testing from Rycote yesterday. It is intended as a suspension for static or boomed medium sized mics. My impression is that the Invision series is mostly being introduced by Rycote to service the new compact mics from Sennheiser and Schoeps with some overlap into medium sized mics. The Invision comes in 8 sizes. The first three are designated as not for boompole use, but rather for static mounts only. The others are listed as appropriate for use while booming. I used it today for a corporate gig. It took the place of my K-Tek K-SM Mount for my Schoeps MK41 w/ Cut-1 & GVC. It’s “Lyre” clip system is a directly related to the S-Series Suspension, which is quite different from the K-SM’s rubber mount system. It is light weight and has a similar profile to the K-SM. It has a retention clip at the base of the mount to secure a XLR which the K-SM lacks. Where the K-SM has a lever to lock the angle of the suspension, the INV has a smaller thumbscrew. It has similar overall shape, but the clips on the INV-7 have a much thinner profile. During an interview, the “fixed” INV-7 behaved the same as the K-SM. I used it on K-Tek Avalon KE-100CC with the Ambient Quick Release Adapter attached to a fish pole holder on a C-Stand. While actively booming I did notice two important things: 1) The INV-7 did reduce the boom handling noise over the stiff rubber boots of the K-SM substantially. Good! 2) However… The AC stated it perfectly as he said, “Whoa! Wobbly boom”, referring to the looseness of the suspension’s grip on the mic. It was all over the place with my Schoeps rig. So, my first impression is that the INV-7 suspension is a good static mic mount but it needs to be carefully handled when being used to actively boom with a mic like a fully accessorized MK-41. I think the Invision system would be better utilized with smaller/lighter mics, such as the Sennheiser 80*0 series and the Schoeps CCM mics… or used only for fixed interview situations with larger-than-compact mics. I will give the INV-7 a shot with my lighter CMIT-5U in the coming days. > Rycote Invision Site http://www.rycote.com/products/invision/ I see that Scott Farr had a beta test model that he used with a Sennheiser 80*0 series compact which I really think is more up this products alley. (Scott, they’ve added the thumbscrew since your beta.) > Scott’s Invision Page: http://web.mac.com/farroutpro/Sound_Mixer/InVision.html -Chris Durfy, ATLaudio.com