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Found 47 results

  1. Has anyone modified a Sennheiser HMD26 headset to auto mute the microphone when the mic boom arm is lifted? A client was offered this pre-installed by Sennheiser but it can't source the required circuit board anymore. Any suggestions and/or previous experience appreciated. Thanks
  2. Hi All, on a recent sfx shoot I've been using Sennheiser 8060 along with RSM 191 (both plugged into Zaxcom Nomad) , and experienced this weird noises from the Sennheiser mic. Any idea what caused it? It has gone away after a short while... sennheiser noise sample.mp3
  3. Panatape noise on Sennheiser 5212 tx

    Has anyone experienced clicking noise from Panatape when using Sennheiser 5212 transmitters? No matter the lavaliere, I continue to have problems.
  4. Hello, Does anybody have, or know of, any MS recordings that compare the MKH40 to the MKH50 with that as the only variable in the comparison? I'm trying to get a feel for how the different polar patterns will affect an MS recording, but I haven't found anything that directly shows this. I'm trying to decide between the 40/50/8040 for a mid mic, and since I might get a stereo pair of 8040s and could use one of those for MS occasionally, it seems like it's coming down to this question of the 40 vs. 50. I know the 40 is classic but some say it's boring, some say the 50 is "beefy" but perhaps I will lose a lot of the image going super-cardioid? Any advice would be appreciated, thanks!
  5. Sennheiser and Sony Lav Mod

    Just thought I would throw in a lavaliere modification or those using Sennheiser and Sony transmitters with the 1/8" locking TRS connectors (G3's, UWP's, etc.). As you know, lavalieres for the G3's usually won't work for the UWP's, even though they have that same 1/8" locking connector. But... I purchased a low-budget Senal OLM-2 lav specifically for my Sony as a backup. For the heck of it I plugged it into a G3 and dang if it didn't work. So I opened it up and saw what you see in the attached photo... a tiny 10k Ohm (brown, black, orange, gold rings), 1/8 W, 5% tiny resistor spanning between the left (Tip) and right (Ring) solder tabs. That's it. So I purchased a set of those resistors, added them to my other lavs (Senny ME2, Tram TR50's, etc.), and they now work for BOTH my G3's and UWP-D11's perfectly. No need for redundant sets (except for backup). I especially wanted to do this with my Trams so the Sony's also had a decent mic. And here's a tip... if you do purchase the Senal OLM-2 lav at, say, B&H, get the Sony version. Why? Not only does it have the resistor already in it (not sure if the Senny version does), but it's $40 less than the Senny! At $80 for the Sony one, it's way more practical.
  6. After a successful year of upgrading Schoeps CMC4 microphones to 48V phantom, I'd like make the JWsound community aware of the www.416Tupgrade.com service, for conversion of T-powered MKH Sennheiser series microphones to 48V phantom power. The upgrade is available for 416, 415, 816, 815, 415 and 406 microphones. http://www.416Tupgrade.com Thank you Pete Verrando
  7. In-Depth Review: Sennheiser AVX

    Here's another in-depth review! This time, it's Sennheiser's AVX system, put in good use by camera buddies for over a year. http://www.bamfsound.com/sennheiser-avx-review/ Unfortunately, I couldn't get permission to show some raw ENG/news footage of AVX in action, but I did find other clips out there. Enjoy!
  8. I'm picking up my first COS-11D and i'm grateful for the input i've already received in this thread regarding TA5F to XLR solutions. I work with a couple different crews who use Sennheiser G2/G3 wireless systems. I'd like my TA5F-wired lav(s) to be compatible with these systems since i'm commonly using them. Would anyone recommend the professional's version (not found on Ebay, not 25 dollars) of this: http://www.ebay.com/itm/like/171376718565? All my Googling has turned up very little. Thanks in advance.
  9. Hi, a newbbie here, with a ew100 g3 problem: Transmitter is sending signal, reciever's screen indicates signal input but no audio coming out from minijack's output of my ew100 g3 system. I've been told it's the output's resistor, but wanted to know if anyone experienced a similar problem. Would love to read your thoughts, Gracias Pablo
  10. Hi, a newbbie here, with a ew100 g3 problem: Transmitter is sending signal, reciever's screen indicates signal input but no audio coming out from minijack's output of my ew100 g3 system. I've been told it's the output's resistor, but wanted to know if anyone experienced a similar problem. Would love to read your thoughts, Gracias Pablo
  11. Sennheiser AVX problem

    Hi all. I thought that AVX systen would be goot to use for camera hop, but I noticed some weird harmonics in the signal. Sent test tone from SD633 to AVX and recorded it on the computer. Did the same test with cable connection and got these results. Also compared AVX to Azden pro-dx. Audio files added. Can anyone confirm that. First pic is AVX, second ,cable connection Azden.wav AVX.wav
  12. They market it as "camera receiver", but they mention a panel for cameras without audio slots, that would enable using it in bag/cart. http://en-us.sennheiser.com/news-a-world-first-sennheisers-new-ek-6042-two-channel-camera-receiver-works-with-both-analogue-and-digital-transmitters
  13. Hey guys, Avid reader and new to the production sound scene. I've doing location sound for about a year now with good success doing corporate, 2 features and a bunch of shorts. Upgraded to my first nice indoor mic (neumann km150). So here's the deal: got my first gig that's got me pretty nervous. I've been asked to do sound for an interview with Martin Scorcese. My first thought was that I have to upgrade to a sound devices and some lectros or zaxcom lavs along with my indoor boom. I've been getting by with a tascam 680 and sennheiser g3's with a cos-11 mic. I know it's prosumer and I"m saving up for the next round of upgrades (I can rent too) but just not there yet. I'm confident that I can deliver clean, balanced tracks using my gear to it's full potential. What I'm kinda scared of is showing up on set with my gear and getting looks from Scorcese and the production crew like, 'who invited this guy?' Am I right to be nervous about my gear or is this a case of 'it's not the arrows but the archer'. Your thoughts and opinions would be much appreciated.
  14. Sennheiser 418S, is it faulty or not?

    Long time lurker first time poster (i think), hello! Also, I posted this on gearslutz too, apologies to anyone who read both forums. I recently bought a Sennheiser 418S m/s microphone off eBay, since I’m doing a bunch of field recording projects at the moment but I liked the idea of retaining some possibility for stereo ambiences in my recordings. The 418S was recommended to me by a friend who I work with a lot, and I had been pretty impressed by the recordings he had made with it. It seemed like just what I needed. Anyway, when it arrived I was dismayed to plug it in and hear a pretty serious hiss on the mid channel. I compared it to my cheap ME66 and the comparison made it even more obvious. I even set them up and did a quick and dirty A/B test, which you can hear at this link. The result was the same both in my Sound Devices 552 and my RME Fireface interface. To me the mic is unusable. The eBay seller asked me to send it to his repair guy in Germany, who in turn has told me that he tested it and it does not have any faults. I'm inclined to disagree, but I thought I'd ask around to see what other people thought. So my question is kind of in the description: am I crazy to think that this mic is faulty? I know it's a weird mic, but it would be pretty useful for what I'm doing at the moment. There is so much hiss in it, I can't possibly believe that it's supposed to be that way, even if it's pretty quirky. Any help/tips would be great!
  15. Hey Guys, I'm new here and I've done a few searches looking for the info I need but haven't quite found an answer to my specific question. I'm shooting for 3 weeks in the Philippines on a doco - I'm setting up an audio rig with 2 radio mics (along with a boom). Nothing too strenuous, no water action, just interviews etc We'll be in Manilla but also Davao City. Only thing is I can't find any info on the restricted frequencies inside the Philippines. So I'm a bit confused as to which of the below options would work best for in country shooting.... So my three options for radio mics are: - Sennheiser EW 100 ENG G3-B - Sennheiser EW112-p G3 - Sennheiser EW122-p G3 Any help would be greatly appreciated.
  16. Some days ago, I shot a couple of long scenes in a very crowded shopping center where the background was very loud. I had 3 Zaxcom LANC transmitters and, at the last minute, I had to add an other mic and I used a backup Sennheiser G3. All had Sanken Cos11 as mic. Yesterday, I listened at the files in ProTools and noticed that the Sennheiser had a better separation between actor voice and background noise. I compared it (it was mounted on a man) with an other male actor standing beside him, but having Zaxcom Tx, with the mic in the same position and at the almost identical level of voice and the Zaxcom had the background noise at a noticeable higher level. Someone using different brands of wireless experienced something similar (even comparing other brands than mine)? Coul it be a more aggressive setting of the Sennheiser expander? Just curious. Vale.
  17. Yes, another "confused with G3" question... I recently bought two Sennheiser CL-2 "line cables" (as the product name says). I was under the impression that using these would let me input a line level signal into the transmitter, yet I find I would have to bump the transmitter sensitivity down to -51 to prevent the AF peak from lighting when putting out a max signal. Was I mistaken? As it is, however, have I understood correctly that to get the best S/N ratio out of the G3 in a hop type situation would be to attenuate the input signal from the source (I quickly checked - Nomad allows a -10 or a -35 dB attenuation on the XLR outs) and raising the sens of the transmitter? The -35 dB attenuation allowed me to raise the sensitivity to around -21 without the AF peak lighting up except very intermittently when tapping on a mic and hitting the Nomad limiters. Thanks.
  18. I know a lot of people here (and everywhere) love the 416 and use it extensively. However, is that because they have been using it for so long and haven't tried the 8060 (which I think Sennheiser hints as 416's newest replacement)? Or are there many people who have tried the 8060 and returned it in favour of sticking with the 416? I haven't had the chance to use either, and am debating which one to get for outdoor booming. I'm in Pakistan and it's noisey here so directionality and rejection of unwanted ambience is of prime importance. Also, I know there are other threads in which 8060 is discussed and loved, but I'm specifically interested in people who have exchanged the 8060 for a 416. Thanks
  19. At InfoComm 2014, audio specialist Sennheiser [booth C10908] affirmed its support for the Dante™ multi-channel audio networking standard. “By joining this standard, we will be able to optimally cater to our customers in the broadcasting and live sound worlds,” explained Claus Menke, Head of Portfolio Management Pro for Sennheiser’s Professional Division. The first product to make use of the network technology will be the company’s Digital 9000 wireless microphone system. A Dante-enabled expansion card for the receiver will be launched in summer 2014. Sennheiser electronic GmbH & Co. KG signed the Dante License Agreement with Audinate Pty Ltd at the end of March, just ahead of NAB. In 2013, Sennheiser had signed the RAVENNA Partnership Agreement with ALC NetworX GmbH, following in the footsteps of its subsidiary Georg Neumann GmbH. Sennheiser has also been a member of the AVnu Alliance since 2010. “The future belongs to digital networking. We see the digital distribution of audio and control signals becoming more and more widespread in all areas of production,” said Claus Menke. “The flexibility and modularity of our Digital 9000 wireless system allows the seamless integration of networking technologies, making this and subsequent microphone systems a future-proof investment.” “Sennheiser is recognised globally for its uncompromised performance,” stated Lee Ellison, CEO of Audinate. “The Sennheiser Digital 9000 microphone receiver combined with Audinate’s Dante networking further enriches the broad suite of Dante products available for audio over IP networks in broadcast, live sound, theatre, and professional audio markets.” http://en-de.sennheiser.com/news-sennheiser-supports-dante-multi-channel-audio-networking-standard ___________________ Receiver to mixer (or recorder or mixer/recorder) with one cable up to 8 or 16 channels. Simple!
  20. wireless slot recievers

    I recall someone saying that the Sennheiser G3 transmitters are compatible with a different brand of wireless slot receivers. I can’t remember if it was the Lectrosonics SR series or some other brand when switched to compatibility mode. Can someone please tell me which receiver would work? thanks,
  21. Hello, I am doing some outdoor recording with a Sennheiser 416, and recently got a Sennheiser blimp system to accompany the mic, and to keep wind/handling noise down. I bought the blimp used, but it's virtually new, and it came at a smoking deal, compared to the price of nearly $1000 for a new kit from B&H. The one caveat of this deal is that the smaller set of mic clips for the 416 and similar mics (19mm diameter) is not with the blimp. The fellow who sold it to me could not find them as he did not use the blimp with a 416. I know that these smaller clips come with the standard complete kit new, along with the bigger ones for the MKH 60 & 66. I CANNOT find replacements for these small 416-friendly clips. Anywhere. It's been killing me. Sennheiser barely knew what I was talking about. they gave me part numbers that yielded nothing on their site. If anyone has a line on these, or someone in possession of spare parts, or a good online store that has spare parts for suspensions similar to the MZS20-1 grip made by Sennheiser, it would be a terrific help. These clips are 19mm in diameter, and are suspended via rubber bands within the grip's c-shaped suspension mounts, I've included a picture of the Sennheiser grip system. Rycote lyres are supposedly incompatible with the Sennheiser MZS20-1 grip, according to Rycote. I read somewhere that supposedly they work together, but I am less familiar with the Rycote grip system mounting rail. If anyone knows for sure, then I can confirm that Rycote lyres are not an option. Sorry for the long message. Small missing part, BIG problem. Many thanks in advance for your input. Isaac
  22. Sennheiser G3 unbalance cable ?

    Hi I just found out that the cable for the G3- 112 , cl 100 is unbalance and that the cable cl 500 is balance but sold with the 500 system. I would like to know if it will give me any problem to use cl 500 cable in my G3 112 system? Normally i would believe that balance is better than unbalance, but there must be a reason why G3-112 is sold with a unbalance cable. I will use this to connect to my HD recorder 664 with balance input. Any comment would be nice, thanks. And yes I know that the G3- 112 is not world class radiomic, but with a DPA 4060 mic. it helps a lot. Thanks
  23. Hello! I have been trying to get Premiere Pro 6 to recognize a Firewire mic input without success. Someone who put up a tutorial on getting Premiere to recognize his USB mic told me that with proper drivers this shouldn't be a problem, but Adobe says these FW mics are not supported. Does anyone know of a workaround? We have the Sennheiser shotgun and don't want to downgrade quality, but simply cannot get the Sennheiser to show in Audio Hardware. Any ideas? Thanks so much! Best, Alex
  24. rewire DPA 4067

    I have bought a DPA 4067 with no connector, I'd like to wire it for my zaxcom TRX900 or sennheiser sk50. As it has only two wires, how do i wire them?
  25. External antenna for Sennheiser G2

    Hi all I use a G2 for agency/directors headphones. It works well but sometimes is a bit limited on range. I know i could buy a half rack sennheiser unit that has bnc connectors for external antenna, but i was wondering if i could instal a sm or bnc plug into a bodypack transmitter to attach an external antenna. Has anybody do it? What would the wiring be like? Any help would be appreciated. Diego
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