Derek H

Like an oversized condom right? I was thinking of something made of neoprene or fabric.

Yea, can you provide a little more info? Pictures? Drawings?

Are any special tools required for this connector? Thanks for all the info guys.

Maybe this is stating the obvious but have you tried mic'ing the person normally on the chest? Maybe this is a useable option. Like was mentioned above it can't completely seal out sound and this way you'd possibly avoid alot of the mask noise that would be picked up with a lav inside the mask.

Unfortunately, the one Zaxcom recommends is significantly taller than the threaded version. Interestingly, the one that they show in all their product photos is not the recommended part.

A Panavise product may be what you're looking for. http://www.panavise.com/index.html?pageID=1&id1=1&startat=1&--woSECTIONSdatarq=1&--SECTIONSword=ww I own the mini vice 201 and the 312 parts tray base. I love it! The base can hold all the little connector bits while you assemble and the mini vise head is perfect for small connectors.

There seems to be very strong preferences out there among sound mixers regarding gain structure with Lectro gear. I mean specifically for sending signals other than that of a lav mic. Ie: signal from mixer or other sources. Some things I've observed: - Many mixers only use and swear by mic level input cables for the transmitters. - Many mixers routinely under-modulate the transmitter, avoiding the limiter sometimes by almost 5-10 dB according to the LEDs. - Some prefer to send mic level to camera. Citing that more gain is needed with line level and hence more camera noise. - I've heard some express the opinion that there is "less headroom" when the receiver output is set to the max level. - Some prefer to set the camera input mic level and keep the camera pots to a bare minimum level and adjust the Lectro receiver up closer to line level to achieve "tone at -20" Personally, I can understand some if the camera input tactics.. Especially if it's a cheap camera that just pads down its line input back through the mic input chain but what I really don't understand is the preference for using mic-level input cables for the transmitters. Is there really some difference in headroom that is not plainly indicated by the LEDs on the front of the transmitter? The line level input wiring is much more simple to boot. Any thoughts? Perhaps Larry would like to set the record straight as there seems to be a lot of variance of opinion out in the wild.

I often work on jobs with hops to camera, no return, and no backup. Many reality shows are setup this way. If the gear is setup properly with no malfunctioning parts, it works. Always check the power cables for intermittent continuity, that seems to be the first thing that will go. Especially if it's not your gear. Even if you mention to a producer that there was a problem at such and such time but don't worry I made a back up the likely situation is that the editors just won't use that section of audio, you'll never hear about it and everything just keeps going forward. Now if you shoot a whole scene with the hops out of commission... Then you might hear about it!

Yes, thanks for taking the time. I've been eyeing a pair of these especially since the price tag is about the same as the 7506 and I've worn my backup pair ragged. It looks like they don't fold up though? That's too bad.

Yeah take the cs3e out in the field on a job to give it a proper test. I can never tell heads or tails of anything when I'm just testing it on the bench. My first reaction to the cs3e was that the self nose was unacceptable but out in the field I never notice it.

Hey Howy, is there a reason you recommend only 4GB cards for the TRX? I've been using a 32GB San disk micro sd card as my hops backup with no issues for at least a year now. I only wish that there wasn't a file segment limit because eventually you'll hit 266 or whatever and the unit will stop recording.

I love that the solution for a lot of the EPIC owner-operators on the red forum is to use a Y-cable off of the mic straight into their zoom. Just hire a mixer for F--sake and problem solved! Are some of these guys just that greedy or just ignorant? I guess both?

So do you lose the recorded audio in this scenario?

Hey Dan, What is the diameter of your beloved Schoeps fuzzy basket? I saw someone the other day who had a very small ball basket and fur for their Schoeps. It was barely larger than the b5d. Is this what you're talking about?

benr, have you tried taping over the switches on the 50? Sometimes wind can whistle in through those tiny holes.

Actually, a second look at Cinela's page for the Leo and I see they list it as having a 10cm diameter. Same as the Rycote.

Thanks for the info! Very helpful. If I can ask one more... how do they compare in terms of size? Cinela does not seem to list the dimensions of the Leo on their website. Thanks!

Dan, do you know the model number of the Schoeps fuzzy ball? Or is it just "fuzzy ball" in German?

Good question. I see Cinela has a new product called "Leonard" that seems to be their own version of the Schoeps or Rycote ball gag. If anyone has tried all the different versions I would be interested in hearing about them. I'm looking for a ball gag for my CMC541.

More software support for Linux I say! Ubuntu has been the most stable OS I have used in a long time. Just wish the software support was there.

I'm about to recommend the Sanken cs1e to a friend who's looking to upgrade from a me66. Cheaper than a new 416.

Another vote for Cinela. If you want something cheap and good go for the PSC universal mounts.

Because it's made to please the DP not us. Figure out a work around or convince production, and the DP, to shoot on something more "traditional". Pick your battles, as mentioned above it's a good excuse to convince them to rent your multitrack rig.

How are you powering everything? All on the same distro? What brand/model etc.

At the expense of operational ease, weight and bulk. Maybe not a deal breaker though.