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Found 17 results

  1. Hi Larry, Sorry to bug you with a private message. I have a quick question about the SRc which you can probably answer in just a line or two if you don't mind. I am thinking of upgrading/cross-grading to them from a mix of 411's and SRb's. What I wanted to know is if the tracking front end works on channels 1 & 2 independently? If I have ch1 tuned to block 21 (for example) and channel 2 tuned to block 23, do they each benefit from their own set of filters? I had a read of the user manual from your site but it didn't mention anything about that. Thanks Hi, There are two independent front ends. The tracking is done after the RF is split to the two receivers. Specifically, you can run different blocks with no loss of sensitivity. I'm going to post your redacted question on Equipment since I have been asked this before. We should put this in our manual. Best Regards, Larry Fisher
  2. Has anyone else had the error message "DSP Failed" when turning on an LT transmitter? I am getting the error message fairly frequently when booting the transmitter up however it usually goes away when it gets power cycled again. Firmware is up to date.
  3. Possible upcoming shoot in Hawaii - any known wireless issues / conflicts would be helpful - thanks! I'm using 19, 21 & 26
  4. I have a project coming up where talent will need in ear monitoring with an earwig. I know that different discussions on this topic have been discussed before, but I'm not finding my answer. Can I use a Phonak with a Lectrosonics R1a using some kind of neck loop? I'm thinking that the R1a will give me a better range than the Comtek. Have any of you used an earwig in this way before? Or is there another way to get good range with the Phonak? Any advice would be much appreciated!
  5. Okay... my eyes (and brain) are glazing over. I just read an old thread where a member says he wired 40 people in ONE block! Wow... maybe I'm over-thinking my new bag(s). The gist is... I have a little trepidation about putting so much into SRb... with the LR/LT now available (only because of the difference in 1 block vs. 3 blocks)... HOWEVER... I still think the SRb is the defacto bag choice (or Wisy, etc.)... basically, that form-factor wins IMO... and, I fully understand Rado's obsession with weight-reduction. Anyway... so... choosing blocks! From what I've read, and experienced, here in STL... 19 is a good choice here. The common logic I get over and over from other soundies is go as low as you can on new purchases. 19 has been working well in STL... so... 2 SRb down in 19 (Thank you DVestore, for the great service)... and 1x 21 for hops to news cams. With the SL6 eminent... I'll definitely have 3 in there... and probably stack a couple more on top in a dashboard. These 5 SRb will alternate between the big reality 688 rig... and 2 at a time will go down into the little 633 (with dashboard) news/efp/small-gig-rig. Right now I'm trying to decide between 3x 19, and 2x 470... or 2x 19 and 3x 470... while still keeping them a full block away from the hops on 21. Thoughts so far? From what I've read on the archives here... and on the Lectro pages I think I'm heading in a solid direction. I feel like Lectro should have a clear, "pre-sales page" which sort of insures these choices, but so far I can't find it, if it exists, which is why I'm posting here. I've also got some G3 units that I use as both DSLR (or other economy hops)... and IFB. Bottom line on that is people aren't getting SRb hops if they're not paying for it, or unless the overall gig pays so well that it's covered... i.e. magazine shows and/or other high-end production... THAT'S when the G3 is handy. They're good enough for scratch hops (too good almost)... and pretty good at IFB... all from a single TX. My G3 TX is "A"... so here is the kit(s): Talent: 4x470 (or 6x470) 473.300 - 485.700 (470 can be tuned into block 19 manually, almost half-way at 495.500... does this increase the value of 470 enough to get 2 extra 470 and 2 less 19s?) 6x19 (or 4 x 19) 486.900 - 511.100 Cheap HOP and IFB Block "A" 515.000 - 558.000 SRb Hops Block 21 538.100 - 562.500 So... if you care to comment. I feel like this is a pretty good plan. Which, based on experience and reading Lectro charts for here, and other cities... should be good, but I'm wondering if it's a poor choice to have 10 wires (and likely 12 eventually) in only two blocks, 470-19... or if I'm right on the money? Needless to say... some major burning on the CC... I was hoping to find something on Lectro's site to reassure my plan... and from there, the archives here. My current bag is a hodge-podge of blocks... and models, 411, 211s, 210d, and 201s in blocks 21, 22, 24, and 25. I've done well with this kit, but there are days where it makes me work harder than I think I should have to (getting all the blocks to play nice through the numerous talent, IFB, and hop TX. I'm really hoping that my current plan will streamline all of this... and take some of the coordination stress out of reality gigs. Typical max on reality (for me anyway) is 8 wires... but if they're willing to pay for each wire after 2 or 4... I'm happy to load 'em up to the max ISO channels, but I would like to make it easier on myself than it has been.
  6. Dear friends, How do Lectro block 21 and 24 work in Toronto? What blocks work best? Anticipated thanks Libero
  7. Thought I would post here since I'd love to pick up some non-union sit-in and referral jobs in the Los Angeles Area. I've been mixing full time for 2 years and have a couple cable TV features under my belt, among a multitude of corporate and commercial work. I'm also comfortable swinging it or being a utility. I have a small Nomad 10 follow cart for narratives and a 302 bag for smaller OTF and sit down interview jobs. 4 channels of Zaxcom wireless (3 lavs and wireless boom), and 3 ERX IFB. Additionally, I have 2 Wisycom wideband channels with the assortment of COS11-D and DPA 4060 mics. If anything, feel free to refer low-no jobs so I can bid up the equipment and labor rates. I'm going broke turning down these $350/12 all in jobs, but I figure it's time to step it up in educating production about what they can and cannot afford with their budgets. Thanks for reading, and have fun out there!
  8. Hi All, First time poster long time reader. I have just bought my first Lectros- used 211/200c, three sets. I did a search of the forum, but couldn't quite find the issue I'm having. Search functionality was good though Here's what I'm doing, and the issue I'm having- hopefully someone can help me diagnose the problem. 211/200c w/ Countryman B3 (hot mic, extra crisp cap) into SD664. There's a noise/hiss which occurrs in unison with the syllables of dialogue/all transient sounds. The noise almost seems to 'gate', in the sense that it will only be audible with the passing of dialogue/transients. Very high end hiss/noise. I had this problem years ago in film school with some cheap Sony wireless, it was impossible to EQ out, it seemed as though the more top end you roll off, you just hear the noise in the middle of the spectrum. The level of the noise is not above the dialogue, it's well and truly 'back there' in the mix, but it's obviously there. The only thread I found which came close to this symptom was one regarding a compander issue where the entire program content was 'gating'... however this is not the case for me, it's simply the noise which gates in and out. It happens with all three Rx/Tx sets. I have only two Countryman B3s, and it's possible that one of the mics is less noiser than the other, but only slightly. Could it be an issue with Mic wiring? Or are my Lectros in need of a service? I don't think it's a gain structure issue, but will be very happily proved wrong. I've also switched out my leads running from Rx to 664, no change. Batteries are new and full 9V Duracell Procell (non rechargable). I am in Australia, the units came to me from Singapore, and are not the AU models. Help me Obi Wan Kenobi, you're my only hope. Cheers to all, and apologies to anyone who finds this topic has already been covered here. Travis Williamson
  9. Any reason NOT to go with the WM? Seams like the same as SMQV only water proof...
  10. I'm not sure which thread to post this in, so I'll drop it here. A buddy of mine and I did a range test today using the following gear: Sennheiser G3 Zaxcom TRK900LA / QRX100 Lectrosonics SM / UCR411A Comtek 216 series Zaxcom ERX2TCD I understand that there's a lot of variables to doing a test such as this, but we had a lot of fun doing it, we just wanted to test our gear, and to just get a general idea on how the range was since we have never found a solid answer.. Keep in mind, this was all LOS (Line of sight) testing. All results are based on when there was a complete dropout in signal. Each test had spotty results about 30-50ft before dropout. We didn't have a way of tracking distance, so I used this site to figure it out afterwards. I'm confident that these numbers are correct. This is why we used landmarks to measure later. We set everything we could to the same (or close) frequencies for the best results with what we had. We used a Zaxcom Nomad for the test. I strapped on all of the wires and IFBs and started walking. We did this same test for every piece of gear, running an IFB and a wire at the same time for communication. The results surprised us both. Starting with the Lectro, we got roughly 470ft. This was impressive since we were using only the ENG style rig with no fins. We didn't have the SMV, so I believe the output power was default 50mw, which was still great. Sennheiser G3, I believe, has an even lower mw output, but nearly got the same range. it was about 100ft shorter before cutting out. Not bad, but the sudden loud hisses were a little annoying. Zaxcom TRX900LAs set to 50mw went about 3/4 the distance as the lectro did until we bumped up the power to 125. Then it reached about where the SM went (470ft). It was still spotty. We were also still able to send commands to the transmitter via zaxnet, including the recording ability, but this could only be done when we were moved a bit closer (roughly 360ft). We also set the QRX back and forth from Dual to Single. It really didn't seem to add to the range much though. The Zaxcom ERX2TCD and the Comteks were an easy test. The ERX went almost 500ft before giving out. Sure, there were a few dropouts on the way, but overall it still sounded very good. Almost as if I were listening to the recorder itself. The Comtek didn't even go half the distance before hissing at us and making noises. The ERX was crystal clear the entire way, while the comtek sounded angry almost the entire time. Now here's the fun part. Since we both own a nomad, we wanted to try something neat. Using Zaxnet, we paired our nomads together (him transmitting and me receiving) so that he could send me audio signal from his to mine via the built in IFB. He kept the QRX and I took the TRX and a nomad with me. I was monitoring his receiver from his bag, in my headphones from my bag. This was very cool. I got a little farther than the ERX before dropping out. A little over 500ft. Of course, I couldn't hear the TRX anymore, but I could hear his slate mic when he would talk to me. This seems like a fun way to chat with other fellow zaxcom users on multi mixer ENG shoots. Haha They all had range far better than we were expecting, other than the comtek. I do believe that all of the gear reached more than enough distance for what they'd be used for. Especially in an ENG setup. Of course, if we had fins, the distance would have multiplied, I'm sure. I wish we could have had the lectro IFB with us, but I'm thinking it would have been around the SM, which was very good. Again, this was just a fun thing we wanted to do and the results came out surprising for us both. They'd be different for everyone, but now we have a general idea of what they're capable of. If there's anything anyone notices that we could have done better or something we can try next time, please let me know. I'd love to do it again with any new advice or settings. Also, any questions are welcome. I may have missed a few things. Our test was pretty extensive. - Sessoms
  11. One of our people saw this at a MLB game and commented that the gal announcing showed quite a bit of composure. And expected that the shot would just go on with a little glitch. Best, Larry F Lectro
  12. Allo group, if i go to work in Louisianna, witch frequency block should i bring and whitch one to avoid? i am using Lectro radio. Thank you
  13. I’m on a stunts day so I have a chance to write between the explosions. Seems that NAB didn’t bring any announcements of new gear from Lectro. That got me thinking about my wish list of improvements to radio mic systems - regardless of manufacturer. When I started in this industry 30 years ago I used Micron VHF radio mics which were fixed frequency. Later models had three switchable frequencies. I became used to what we now call frequency agile wireless about fifteen years ago with the Audio Ltd 2020, later the 2040 range and now use Lectro. A lot of the equipment we use is tuneable over perhaps 30mHz but Wisycom now have a tuning range of 230mHz and new to the market Audio Wireless have a 120mHz tuning range. With multi camera we now use far more wireless and at crowded studio complexes or big events we cannot always stick to the blocks that we have in our kit so that we have to rent in alternative equipment – inconvenient and we loose the rental on the kit we own. I assume that what Wisycom and Audio Wireless have started will be picked up by other manufacturers. In particular, now that Lectro have tracking receiver modules and wide band Venue and Field frames, it seems to me that the next step is freeing receiver modules from individual blocks and like Wisycom designing wide band receivers and a similar tuning range on transmitters. I am not suggesting that this will be anything but a challenge for the RF engineers but for me, the user, a system that would tune from 520 to 640mHz (Audio Wireless tuning range) or even better from 470 to 700mHz (Wisycom tuning range) would be a really significant improvement. The Sound Devices Pix 260 has a Dante connection that inputs 24 channels of 24 bit audio via a single Cat 5 cable with minimal latency. I have no doubt that Dante - already adopted by many audio manufacturers - will be incorporated into new recorders from other manufacturers. As the track count increases, a system such as Dante frees up a lot of socket real estate on both the recorder and potentially the wireless receiver. So imagine a bigger receiver rack such as the Venue with Dante – Lectro have already made their own Dante boards and break out for the for their Aspen system - perhaps with space for 12 wide tuning range VRT receivers in a deeper 1U enclosure - able to tune across different blocks with one set of receiver modules and a single Cat5 connection to the recorder. That would be space saving both on the receiver and the recorder and money saving because you wouldn’t have to rent in alternative blocks if some or all of the kit you own is not usable in a particular location. It will come at a price just as VRT is more expensive than VRS but the versatility and convenience as well as the cost saving on rental would make it a very good incentive to upgrade. Is anyone like minded? Tim
  14. Hi, I'm working on a serie with two SMDB sending the audio to the camera. To power them I use a battery eliminator (on a NP lithium battery). When I change my batteries, or switch off the battery I have to turn the transmitters on. Is there an automatic starting mode for SMDB ? In the same way as the SRA do ? I have reread the manual, and haven't found any line about it. Thanks
  15. Being on the verge of spending money again, I want to make sure this is the right step before parting ways with my hard earned cash. I'm a sound mixer who is relatively new to the craft (about 9 months doing location audio) and I want to invest in some pro quality wireless. One of the things that I feel is most key to being a good sound person is to have pristine audio. Now pristine is a relative idea but getting as close as possible is a good approach when you don't have the clients or money to access the top quality Zaxcom's/Lectro systems. My question is about the sound quality of a Sennheiser G3 Wireless system wired to a Sanken COS11 lavaler vs. Lectro LMa/Lectro UCR100 wired to a Sanken COS11 = ?
  16. First an intro... I have been an on and off prod. sound mixer for 4 years in the Dominican Republic. (on and off because I moved to spain for a while and also started a small av contracting business which i am currently closing) Mostly did commercials and the occasional documentary or tv program(over 60 or 70 commercials). I am currently on my second feature. Little by little I have been able to purchase the following gear: SD 744t SD 442 Sennhesier MKH 416 Sennhesier MKH 50 2 Tram tr50 4 Sennhesier G2/G3 wireless Bags, Rycote windshield kits, 18 ft and 12ft boompoles, plus aditional bells and whistles. Looks like I'm going to be doing some features now. (pinewood building 6 lots here+ new film legislation has come into effect implementing tax incentives for film/tv production.) This is what i would like to know. Keep in mind there is no local rental house i can deal with. Obviously the G2s are my weakest link. Thinking my next purchase should be a Venue with atleast 3 SMQs this will run me about 7K no-one even owns lectrosonics here and i just know it would give me great piece of mind (also RF space isn't very well regulated and could probably get away with running them at 250mw output. Are there any down sides other than being forced onto a cart? Does a cart seem like overkill for a 442 744t setup? Anything I should think about buying before, like TC slate for example? I love the idea of getting a 788t eventually with cl9, but seams like overkill without enough mics to fill the 8 inputs. Any comments would be greatly appreciated, I know there have been a lot of threads on this forum about this, but most answers included renting lectrosonics or other proper wireless or other necessary equipment instead of buying.
  17. Hey folks, Some time back, I made the mistake of purchasing a pair of Lectrosonic LMa/UCR 100's. I wasn't happy with the sound, and rarely took them out. Now, as I'm gearing up for this film, I'm wondering if I can make some kind of Comtek system out of them for my clients. Could that work? Rachel