T_will

Apples and oranges and shrimp... SD 552: Historically Bridged the gap/ filled the void of dedicated 3-6 channel portable audio mixer/ routers vs extremely expensive all in one mixer multi-track recorders (Cantar, 788T, Deva/ Fusion, Fostex PD-6, HHB PDR2000 etc) SD 552 allowed Doco/Eng/Reality types, 5 audio channels, with an integrated TC stamped BWF stereo recording. As opposed to using a satellite primary/ back up: Fostex, Marantz, Tascam, Sony, Edirol 16-24bit/48kHz capable audio recording device. The output flexibility exceeded most competitors of its class in its day. 5 direct outs pre or post with 3 mix outputs. Pretty much decimating the F8's output functionality, not to mention line P48V when the din of aircraft/ live shows would blow your condenser mics to smithereens. I haven't used an F8 and I'm sure it's great as a recorder, but my instinct is just that, multitrack recorder, period. Ham fisted mixing at best, which brings me to the question? Is this about TRACKING, MIXING or BOTH? 'Cause in my estimation the F8 needs a proper mixer on the front end, period. (My fatty fat sweaty fingers on the run? Just can't see it). And finally, Not sayin', just saying', If you're a mixer worth your salt, 2 empty tracks should bloody well suffice (not that any sane sound recordist/ mixer would purposely choose to limit their available track count...but when it's tits up and that's all you got, it's about the skills). I'll now take my comments off the air and return to drywalling...

NO NO NO. READ Peter's post again. Mic into Line = you need to Amplify NOT Attenuate. Claro?

Yes it can.

Gold star

I'm sure you've tried different cables? I have used my kmr 81i for years in diverse and extreme temperatures without issue. The one hiccup with said mic is a gold washer between threaded head of mic and the fabric filter - that if loose, may rattle (tinkle). Having said that yes it could of course be humidity, but the only time it really crapped out for me (similar sound to your example, though far more violent) was rain water getting into audio connectors at boom pole. I did have a km185 that would misbehave motor boating/ whining etc, turns out it had a contact issue; of all places between capsule and body, hot glue to the rescue.

Realizing it could have been a continuity issue, at the last minute Boom Op picked bag off table to save the take. HERO! Or, the worlds least ergonomic audio bag ever seen in the western world? Or, yourodetubecanon swag bag? (do not leave unattended!) Or, the shit I do for my 2nd cousin. Or, A little bit of knowledge can be a dangerous thing.

Eric F, A consistent dialogue track may be hampered by the gain structure of your set up: from microphone through the MM1 to the H4N. Though the H4N has balanced line-level XLR inputs, it is NOT rated for a +4dBu PRO LINE-LEVEL input (MM1 Clipping output at +22 dBu into 100k ohms, +20 dBu into 600 ohms) The MM1 can crank out some serious levels that the H4N will not be able to handle. So you have a problem: Play it safe on the MM1 (less mic gain resulting in poor signal-to-noise, and avoid overloading the H4N's input/digital track. Or Proper mic gain (re: signal-to-noise) and risk a blown out track. Unfortunately the MM1 does not have the option of: mic/line -10/line +4 output: impedance matching (to recorder) option. One solution (apart from a better mic, placement, location, acting/directing, professional sound recordist, etc) might be to get an in-line Pad/ attenuator so your "Pro" MM1 plays nice with your "not-so-pro" H4N; or go direct to the H4N and by-pass the MM1, but who are we kidding? H4N Pre-amps are, well, definitely nowhere close to the quality of the MM1. Also, is your sound gal monitoring from the MM1 or the H4N? Because it should be the H4N, I say, unfortunately. My 2 cents on this one time dime, best of luck and keep having fun. T Theoretically speaking. ZOOM H4N input specs: XLR (balanced input) / standard phone (unbalanced input) combo jack Input impedance (using balanced input) 1 kΩ balanced, pin 2 hot (using unbalanced input) 480 kΩ unbalanced Input level (using balanced input) −10 dBm _ −42 dBm (using unbalanced input) +2 dBm _ −32 dBm

Love watching end credits, particularly Peter Strickland's, "The Duke of Burgundy". Partial screen grab. FYI, Strickland also directed "Berberian Sound Studio" (instant classic for soundies)

What's the position not being given to a local?

Possibly your cables and/or… 633 User Guide and Technical Information Adjusting Output Levels The nominal level of analog outputs can be adjusted from Setup Menu options OUTPUTS > XLR-L Out, OUTPUTS > XLR-R Out, OUTPUTS > TA3-X1 Out, and OUTPUTS > TA3-X2 Out. The available options are Mic, Line, and -10. The master level of L, R, X1, X2, X3, and X4 buses can be adjusted in 1 dB increments from 0 dB down to -30 dB / Off. To adjust the bus levels of L, R, X1, X2, X3, or X4 buses: Press the Meters Button repeatedly until a Meter View is displayed that includes the output to be adjusted. Rotate the Select Encoder to highlight the meter label of the output to be adjusted. Press the Select Encoder. The background of the output’s meter label will become yellow to indicate that level adjustment mode is accessed. Rotate the Select Encoder to adjust the level. The dB value will be displayed in the lower right corner of the LCD during adjustment. Press the Select Encoder again, or wait 2 seconds. The background color of the meter label will become grey to indicate exit from level adjustment mode. Output level adjustments do not affect tone signal from the 633’s tone generator. 28 Good luck boom boom.

Same problem occurred with my smd after a couple days on sweaty talent. It was beyond just cleaning contacts, and needed thorough repairs Care Of Mother Ship. Best of luck

The missing link (and what I had hoped to find on SD's silver platter reveal last fall). Well done guys! Hopefully PSC's gonna rock some serious sales. (just to nit pick, no master fader, but that's a personal preference of course; nevertheless I'm "all aboard"!) Limited mic-pre's? No problem, I hoard, plenty at my disposal to interface with (hang on to your versatile portable mixers, you just never know?) mic-pre to line level direct out, yup can do. Disclaimer for the pedantic among us: missing link refers to price+ergonomics+features; yes there has been and continues to be a plentitude of boards available for the cart based mixer. However, the gap created by a glut in the market of (relatively) affordable multi-track recorders was wanting of the Solicemini or some similarly priced 1st hand product, IMO.

PVS Number of storage/ organizing options up the road in Ottawa... http://www.leevalley.com/en/Wood/page.aspx?p=64664&cat=1,43326 Including Festool products too (see the tabs menu) - "Toupie"

Hook, Line and Sinker...here we go. I have absolute confidence in Lectrosonics otherwise I would be spending my cash elsewhere. Sales and service have always been beyond reproach. With regards to blame? I do not hold any of the following parties responsible for the anomaly/ freak out of my receiver: Production, The manufacturer, climate change, my baseball cap, the manufacturer of my baseball cap, Remote Audio, Petrol, IDX, Sanken or even you Senator. It is MY responsibility to protect MY gear, thus the liability falls squarely on my shoulders. This is 100% my problem. So don't project or transfer your litigious experiences, 'cause this cat aint looking for a freebie. I break it, I bought it. RE: Automobile analogy. Not pertinent. Had, however, you said that your petrol fuelled Toyota had mysteriously starting demanding diesel on the instrument dash display- I'd get it, but you didn't, so I don't. Yes some of us are still curious and thankfully so. Glad to know I'm not completely jaded. Toby

Mike, Hardly rhetorical. If I wasn't interested I wouldn't have queried. Has this scenario ever presented itself to you and if so did you come understand the causal relationship that results in crap happening? Thank you LarryF for the reply. Cheers Toby