All Activity

Hi Paul, thank you for the suggestions. I tried what you said: I connected a Sanken CS3 to the TRX and no static was observed when jostled. I connected the MKH50 directly to the TRX and the static was present (when jostled.) I cabled the MKH 50 directly to the mixer via analog input and the static was not present. I'm left thinking there is some kind of interaction between the MKH 50 and the TRX I did the same for the 641, except now the noise has gone away. I then tried another TRX that I connected to the MKH50 and the static was again observed on the MKH 50.

Thanks for putting all this together Vasi Regards

I'd advise against putting anything at the 180 degree spot/ back of the microphone, especially a bucket which is a very non-linear sound collector of sorts, especially when agitated with wind. The common misconception is that directional mics have a null at 180 degrees or various other angles , depending on the polar pattern. In practice microphones, especially shotgun microphones hardly ever have textbook patterns across the entire frequency range. Schoeps is probably the best at achieving as close as possible a textbook pattern but one quick look at the graph of the MiniCmit shows that at lower frequencies you have a significant rear lobe, meaning that this mic hears a lot of what's going on in the lower mids and bass behind the mic . 500 Hz is only down 8 dB and 250 Hz is only down 7 dB from its on-axis response. It is very important to consider what is happening "behind" the mic.

Try a proper Rycote 'zeppelin' with a full size 'dead cat' furry cover over it. Your mic needs to be properly isolated within an area of still air, then it shouldn't be affected.

Thank you for the teaching that was good, but it was a common bucket with which I tried to prevent the wind from blowing behind. I have also a plan for parabolic dish since I have several SAT-TV dishes, I can try with some. But it is rather a test and not a serious thing. But yes, the wind is a big problem especially if I want to use a higher stative and height. Parabolic Microphones and Specialized Equipment: https://www.wildtronics.com https://www.telinga.com

Here's a picture - courtesy of B&H - showing a mic pointing INTO the centre of a parabolic dish, where the dish focuses the audio.. That's how the mic catches the focused audio ..pointing INTO the dish.

These are the official rules but just keep your transmitters no higher than 50mW and I recall the 2x I was there (years ago) that I was using block 24 and 21 at the time and didn't have any issues. I'm sure things have changed in the last 10 years though so YMMV.

If that 2nd picture is your mic in front of a parabolic dish, then your mic is the wrong way round! (The mic should point INTO the dish, at the 'focal point' of the dish ..where the dish focuses the sound. Put your head in front of the dish, with one ear pointing into the dish, then move your head towards, into, and away from the dish until you hear the LOUDEST sound, then put the mic inside the dish (using an arm on your mic stand) until the HEAD of the mic is at the exact same point where your own ear was, then slide the mic in and out of the dish slightly until you hear in your cans the strongest, loudest sound. That's the 'focal point' of the dish, and that's where your mic should be, pointing ..INTO the dish.

Anyone have current info/experience? Much appreciated!

It would be interesting to see a comparison between BoomRig and Exoskeletons.

Interesting. It seems to have solve some or all the issues that the Boom Audio Kit Cool had. Much more versatile and allowing many movements, even small adjustment. Though they have borrowed and adapted the 2 wheels system of Kit Cool for boom twisting, most movements seems more free. I look forward in trying it.

Voice Technologies VT403W Lavalier https://vt-switzerland.com/en/products/lavalier-microphones/vt401-403-series/vt403water/

Thanks for the thorough and helpful answer @Sebi!

Wisycom Updates & MTB60 Rumors Video from Gotham Sound ==== Sanken New Lavalier Development Video from Gotham Sound

We tried an earlier proto on a 17 page backwards walk and talk, it was great for that

Neat ... that's the first armature I've seen that doesn't look totally impractical and bulky. I might keep an eye on this. It's still a pretty big item to be carrying run and gun, but they've clearly put a lot of thought into the specific needs of sound and boom. I'd try it.

Johan Hellsten posted this to YouTube yesterday: Easyrig Boom Rig Release Video The price is US$2200 with vest. Gotham Sound (Nick Huston) discussed the product with Hellston at NAB yesterday. From 8:50:

Haven't tested the two against each other but I'm guessing it's by design. The advantage of the Lemo being lighter and more compact comes with the downside of less physical shock absorption and being more sensitive to physical impact (that's probably not how you would describe it scientifically). But cable noise is common even for XLR plugs. A really important feature of shockmounts is the isolation of the cable that is attached to the mic. If the mic itself is isolated from the boom or stand but not from the cable hanging or lying around then all handling noises will be transduced into the mic. So there's usually a short cable between the mic and another fixed XLR plug that isolates the mic from the rest of the cable length. Some shockmounts have a clip to attach a connected cable so if you're running only one cable you can clip it in shortly after the XLR plug to the microphone as some kind of strain relief. Alternatively, it should also help to fix the cable with some velcro to the stand. I'm afraid with sensitive mics and without a high-pass (low-cut) filter it's likely that you get some unwanted handling noise, even if the mic is static on a tripod. The table might even conduct the steps of the person walking in the next room. So a shockmount is always good advice and will safe you troubles. It doesn't have to be cinela but of course they're worth the money and have special mounts for the lemo version. Any other will do for table interviews.

do the current crop of 32-bit recorders with the auto-ranging multiple adcs offer a similar result? "noise spikes" from switching adcs aside... does the digital mic offer any more range (in theory or in practice) than a clean input with close-to-theoretical-minimum EIN and a max input level of +4dB or above?

I got some experience and the biggest problem seems now wind. Also I specified what I had never before looked that with Portacapture X8: LOW INPUT GAIN +0.0dB...+35.0 dB HIGH INPUT GAIN +22.0dB...+57.0dB And with FetHead I can deliver now on Low input gain. Bees, when I put microphone in the hive, I get a pretty good result. I also got a few flies in the room nicely (bluebottles - so in English?). Over me, a geese raft flew, which otherwise was promisingly received, but because the wind was enough strong, the result was bad. PIANISSIMO PIANI-1 needed, I don't know if this would help?

I am currently comparing Lemo cables with XLR cables for Schoeps microphones. I have no experience with Lemo and was surprised: The Lemo cables on CCM seem to me to be much more sensitive to handling noise (from touching etc.) than the CMC 1U with XLR cable. Is this due to the design or am I doing something wrong? Full disclosure: I'm not using them in a suspension: the CCM is in the SGC clip on a mini table stand, the CMC 1U in the XLR clip. Like an interview scenario for two people with mics placed on the table. The difference between XLR and Lemo is pretty drastic even when I just lightly touch the cable. Can you only use CCMs / CMC1 L in Cinela suspension and never just on a table if the cable connection is that sensitive? Thanks for pro advice for a newbie!

Blackmagic PYXIS Camera https://www.blackmagicdesign.com/products/blackmagicpyxis ==== Blackmagic URSA Cine Camera https://www.blackmagicdesign.com/products/blackmagicursacine

Hi. There must have been a collaboration between Nagra and Aaton when Beauviala developped the Aaton code in the 80s and more over the Aaton Origin C that was compatible with the Nagra IVS TC (from 1984).

The evolution of bags. My sd888 is kind of small as well