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Wireless Boom Op. Favorite Configurations?


Matt

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I read about a lot of people using MM-1. Considered it myself. A lot. But people write about the preamp being better, which is true, but you're still not bypassing the transmitter preamp. You're now going through both preamps.

While I don't do it myself, I once worked with another mixer who used the MM-1 going live-level into a Lectro SMQV (with a special line level XLR-TA5F). One preamp, nice clean signal.

Personally, I just use an HM straight into the boom, with pre-fader boom fed back to a lectro IFB. Op talks to me through the boom, either verbally or "tap code".

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I read about a lot of people using MM-1. Considered it myself. A lot. But people write about the preamp being better, which is true, but you're still not bypassing the transmitter preamp. You're now going through both preamps.

Haven't we discussed before taking a mic signal and amplifying it, then re-padding it to mic level?

I know the limiters are better, of course, so you could set the transmitter knowing it won't hit the limiter. But I have pretty good success setting my transmitter low enough that limiting is rare, yet the "noise" of gaining up on the receiving end is not an issue. I'm now sending the mic signal through one preamp, not two.

Obviously I'm not a purist, considering I am not using a cable or Zaxcom wireless boom, but isn't my thinking correct?

Robert

I'm not sure how others have theirs setup, but I use line-level cables into my SMQv's.

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For those of you using the MM-1 option, which I'm starting to be swayed to, how are you mounting everything on your boom op? I looked online and can't find any sort of MM-1 Portabrace case or beltpack.

There are none dedicated to this setup. I had two custom belts made with pouches for Rx's and Tx's. My Boom Op doesn't use it, he just clips it all to himself, with velcro help. My Utility uses the belt, because he can attach his "utility" pouches to it also, and jump in at second boom in seconds. It's all a personal taste.

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" I use line-level cables into my SMQv's. "

I use line-level cables from SD-MM into Lectro TX's.

And...

"While I don't do it myself, I once worked with another mixer who used the MM-1 going live-level into a Lectro SMQV (with a special line level XLR-TA5F). One preamp, nice clean signal."

Ok. But isn't a line level cable simply padding the line level signal from the MM-1 down to a mic level signal that STILL passes through the SMs preamp?

It's still not going through ONE preamp. What am I missing?

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Ok. But isn't a line level cable simply padding the line level signal from the MM-1 down to a mic level signal that STILL passes through the SMs preamp?

It's still not going through ONE preamp. What am I missing?

I can't say for absolute sure, but i think it's just an issue of wiring? From the Lectro manual:

"The normal hookup for line level signals is: Signal Hot to pin 5, Signal Gnd to pin 1 and pin 4 jumped to pin 1. This allows signal levels up to 3V RMS to be applied without limiting."

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Aha! That's the answer I was looking for. I'll also check diagram and see if from pin 5 it bypasses preamp.

That's a question I never asked. Perhaps Larry can chime in and clarify. I assumed it bypassed the pre-amp. The manual for the SMQv doesn't mention bypassing of the pre-amp, at least not that I can see.

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Aha! That's the answer I was looking for. I'll also check diagram and see if from pin 5 it bypasses preamp.

The line input wiring doesn't bypass the preamp but it converts the preamp into a line level amp. The gain of the amp is set by the ratio of the feedback resistor that adjusts gain and the input resistance. By adding a series resistor to the input, the ratio becomes small as does the gain. For those familiar with the guts of mixing consoles and their ilk, this is a virtual ground summing amplifier. The important thing here is that the noise and distortion of the preamp is reduced and the frequency response extended as the gain (resistor ratio) is reduced. The erstwhile mic preamp is converted into a true line amp. This is a totally different case than the poor practice of padding a signal from line level to mic level and then gaining it back up with a one size fits all mic preamp.

Best Regards,

Larry Fisher

Lectrosonics

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This is all great info, and now has me considering adding at least one MM-1 into my kit.

snip

Oops, I forgot the MM (our transmitter, not the MM-1) but it is changed to line level in the same way with a series resistor in the input connector to change the gain of the first amp. The WM has this function handled by an internal switch that adds a fairly large series resistor with a menu choice for line level. So all current Lectro transmitters use the virtual ground amp, servo or otherwise.

Best,

Larry F

Lectro

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I don't really get the need for talkback. I can very easily pick my boom op's voice out of a crowd when the pole is extended and he needs to quickly answer a question. Other than that, he talks into the mic, if need be.

Robert

A simple solution but using the boom for talkback is not acceptable on some sets. With talent mics faded down between takes, the booms are all that the director / script can hear and they don't want to hear the sound guys chat. If you fade down the boom and listen on pre fader at the desk, it can cause panic when all sound is lost in the director's / script's cans. Closed talkback is preferred and using your old wireless to do that is an economical solution.

Tim

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  • 1 month later...

Found this thread with first cuppa today and based on yesterday's day, felt I might chime in here with further input.

 

For private talkback from boom, there's a way to set up the TRX942 in the software and via different wiring at the RX4900 and between the RX and the board, whereby if the boom op pushes and holds one of the buttons, the boom signal routes differently and may then be monitored privately. I've not felt the need to use this option, but it's possible methinks.

 

Further to the 942: spent some time digging deeply into a particular whisper-to-scream scene with the post production supervisor and ProTools session open. On the day, I'd heard some transient distortion and was concerned whether the gain structure I'd used had worked since I'd seen the show and didn't notice any distracting cuts to the tracks.

 

Having been warned by the screaming party in question to expect a louder-than-usual performance, I'd backed off the TRX942 by 6dB. Also backed off the 788t iso track by -6dB. Second take, did more remote backing off on the TRX942 and still heard transient distortion even though the tracks didn't show overload. Third take, added a limiter to the mix and iso tracks at the 788. Fingers crossed

 

Less than 8 minutes from start to finish for her side of the coverage. Had time to listen back to take 2 before moving on and yeah: transient distortion. Dagnabbit. Wrote post a note. Yadda-yadda.

 

I've been sweating this scene for a year, mind you.

 

Found out yesterday, that it must've been my headphones or the headphone amp blowing out. There was no distortion on the tracks according to our editor-in-chief.

 

The 942 protected the tracks admirably, without any limiter artifacts, much to the glee of post.

 

I'm a believer.

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I am amazed how accepted the use the MM-1 is in the US. I use it too, but every single boom op I worked with kinda complained about it. It's the best sounding option to my ears (though I haven't tried the Zaxcom), but it is a big box. Plus the transmitter and the IFB receiver. Makes for quite some weight on the boom op's belt. Most crews over here use plug ons directly on the boom mic, so the boom ops aren't used to dealing with cables anymore either. So it is kind of a hard decision between convenience for the boom op and quality of sound/limiter. 

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This is my Sennheiser MKH60 attached to a Sennheiser SKP300 G3 transmitter that supplies 48V phantom power to the mic and sends the signal wirelessly to the audio mixer.

 

I'm not a fan of the idea of putting the transmitter right on the microphone, just because of making the front of the pole unbalanced. If it works for you, go for it.

 

I just started using the K-Tek K-TA wireless wing, which at least helps avoid those occasions where the transmitter bumps into a doorway when the boom op is moving. So far, it seems to work fine:

 

K-TekTA_zpsf05fbd99.jpg

The one I have is a different design that replaces the entire bottom section and goes the other way and is a little bit slimmer. Seems rock-solid and the connection is good -- we'll see how it holds up under battle conditions.

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Found this thread with first cuppa today and based on yesterday's day, felt I might chime in here with further input.

 

For private talkback from boom, there's a way to set up the TRX942 in the software and via different wiring at the RX4900 and between the RX and the board, whereby if the boom op pushes and holds one of the buttons, the boom signal routes differently and may then be monitored privately. I've not felt the need to use this option, but it's possible methinks.

 

Jan, you're the first to ever say this is possible. And I hope you're correct. I've emailed Glenn several times, with no response, so I assumed it was not possible. If this is true, then I might be revisiting the TRX942. Can anyone else confirm this? Glenn?

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