After this week I am considering something else:

I recently had to use the VT500 single lav in a supermarket using Lectro 411 unit. Background ambience faded way to the background much more so than many other lavs I've used.

And later that day, two separate provided lav models on 2 talent on-camera together using Lectro 411 units.

-A white Voice Technologies VT500 -Lav Mic which was for a broadcast TV talkshow segment on-location and (white vampire clipped in visible on a white shirt.)

-Tram TR-50 with clip (black Lav visible on a black shirt).

When both talent in a modern kitchen with lots of hard surfaces:

I found the VT500 mic while a electret condenser omnidirectional mic almost behaved like a dynamic mic compared to the Tram TR-50 I had to use for the other talent. The Tram picked up all sorts of near reflections and reverb. Monitoring in mono it sounded fine and granted the VT500 left something to be desired in the upper frequency range but for a very noisy location I may decide to use it for a better signal-to-noise isolation down the road.

So today I looked it up and saw there is another model.

Voice Technologies VT506 - Lavalier Microphone with 6dB High Frequency Rise - Omnidirectional

At only around $10. difference from teh VT500 other than the 6dB High Frequency Rise are there any differences? Would you guys recommend the VT506 instead to use for visible situations in a noisy environment?

I've used over the years COS-11, Tram TR-50, Countryman B6, Sony ECM-77B, Sony ECM-55, MKE104 cardiod (in a live PA system use), those 'prize-in-the-box' Lectrosonics M-150 Lavs

Does anyone else have a visible lav they like to use wireless specifically for a very noisy location for better isolation (not buried under layers of fabric for isolation purposes)?

https://github.com/LoganSound/Deity-BP-TRX-Repair/tree/main

https://imgur.com/a/UUb3bIW

Battery Text Reads: AP158 3.7V(10.36Wh) 4.2V 2800mAh

Just completed a saga that kept two excellent reference monitors out of the landfill, happy to help anyone else brave enough to take it on!

They also have to be of equal length.

Any ideas before I start coding?  I have 30 recordings of these samples, so that works out to somewhere between 100,000 to 120,000 files.  Manual work is out of the question.


 

https://www.mattmillman.com/info/crimpconnectors/

Matt has lots of other interesting topics on his page also.

I'll need some XLR cable length that should also serve on SuperCMITs. Maybe 30m max, so it's probably not very relevant, but I thought, I'd ask.

At this stage we will be shooting in LA, San Antonio, Toronto, and Chicago. I understand that 21 is ok but 22 not as good in places like LA. As my block 22 is primarily my camera hop and both TX and RX will have good line of sight and not be far apart much of the time that this should still be ok...

Any thoughts or feedback appreciated (I will be running a back up recording of all audio if the link does throws a wobbly to be safe).

Thanks,

Chris.

I could most likely buy a part from Sounddevices or just look up the part number and find it from an electronics supplier.

However, I cannot get to the actual ribbon. It's sandwiched between the two boards. I took the rubber knobs off of the pots. Seems like the nuts are holding it together from the front side. Any idea as to any things I need to do to disassemble the unit enough to get to the inside?

Many thanks.

I have a Coles 4104 that sounds good, but the noise of the preamp is very noticeable when I turn it up to the level needed. Ive tried 3 different preamps with similar results. Its the same noise of a preamp that is heard when turning up the gain without a mic loading it. When I connect the microphone, the noise is the exact same, but combined with the microphones signal.

Searching online I don't see any mention of this issue. Could anyone who has used this microphone describe their experience? I've used other, much cheaper, ribbon microphones and never noticed this level of noise.

Thanks,

Rodrigo

Notes on opening:

-Remove the C-clip from inside the XLR jack with a pair of needle nose tweezers or tiny screwdrivers, while this actually wasn't necessary in this case it's worth noting.

-Turn the flathead set screw on the exterior and remove it

-Remove the top outer case, the XLR jack assembly does not separate from this microphone without desoldering the two leads between the main board and XLR jack so do not attempt to pull the jacket of the XLR off until these leads are desoldered (or just cut if you are adding new resistors)

-And pull out the Phillips head set screw on the underside next to previous set screw hole, now it is safe to pull the XLR jack and sheath away from the body

I was able to shift this daughterboard slightly without removing entirely to slide new resistors into place:

The old resistor was Brown Black Black Gold: 10 ohms +/-5%

After an unsuccessful Google to try to find a matching replacement I opted to try a 10ohm I had around, 5 bands: Brown Black Black Gold Brown: 10ohms +/-1%

While conceptually I was fairly confident this would work some threads made me doubt whether it would sound as good, initial results are positive but I may opt to match the remaining resistor at a later date.

Resoldered, cleaned some remaining corrosion with DeOxit and an old toothbrush and re-assembled good as new?

Is HDMI timecode LTC and is it using Consumer Electronics Control (CEC) pin bus? Or maybe Pin 17?

I understand timecode over HDMI is a hack introduced by Atomos almost ten years ago and then adopted by many manufacturers but can't find any technical details about it... any pointer? [EDIT: or is it SONY with the FS100? as discussed here on jwsd]

Thanks in advance...

Fun fact: looking around I learned Atomos under CEO J. Young was a shitty place to work at.

PS: I'm referring to pin 17 as "Utility/HEAC+" signal, defined in HDMI 1.4+ version. This signal moves from pin to pin depending on connector type 🤨

the phantom power of my Sound Devices 633 dont work anymore.

thanks

We are legion on here, from all over the world so acquiring the info from locals wouldn't be that hard. 

Let's give it a try at least. 

This is the link for it. I contributed with Sweden. 

https://docs.google.com/a/tjockishjartafilm.se/spreadsheet/ccc?key=0AgnGQulSs_YrdFAwZGZ2LWVjRkRuY0owOEtHcHZqclE#gid=0

Anyone can edit or add information.

You don't need a google account to edit

If anyone has a better idea than a spreadsheet (i don't know how to make a wiki... ) that'd be great. I thought this would be a start. 

And if such a document or wiki or database already exists, please ignore.

ADDITION:

Richard Thomas posted a link to this website, it lists information for European countries with users input..

I am trying to understand how are RF power measurements made, how to check that a transmitter has the right RF power output, how to test RF antenna cables insertion loss, etc...

I got myself a little gadget that is supposed to measure RF power outputs in dBm and mW. But it is a cheap stuff and I am getting weird results, like higher measure when adding cables... Before I dismiss it completely, I realised I need to actually understand what is it I am supposed to get.

So, for those of you RF insiders, what is the correlation between the rate of a transmitter power and what is measurable at the antenna output? in other words, if I have a transmitter rated for 50mW, what am I supposed to get at the antenna output? 50mW and 16.99dBm or something else?

Thanks in advance!

The idea is to move from the crowded UHF band to the 1.3 GHz band and to reduce the lenght of the antenna on the A20-mini transmitters.

As I was searching technical informations about the effects of obstacles, and especially human body, on the transmission at higher frequencies, I found this very interesting study:

https://www.bakom.admin.ch/bakom/en/homepage/frequencies-and-antennas/facts-and-figures/the-effect-of-the-human-body-on-wireless-microphone-transmission.html

If I understand well, if the body is an absorber in the UHF band, it acts more like a reflector at higher frequencies.

I will try to work in the 1350 MHz range next week and I'll let you know if I see an improvement in the transmission at these frequencies.

Need some assistance if you can. I've got the SD633 and I'm trying to record Wav Poly on CF and MP3 on the SD card. I've updated to V4.61. The mixer is not allowing me to record MP3's. I've tried new cards of various sizes and I'm not recording in F mode. I've formatted the cards and I'm at 48K also. Is anyone else experiencing this? Any solutions would be helpful.

Thanks,

Russ

I'm new here and to be honest I don't know exactly where my topic belongs.

I have had a Nagra III for 3 years (was my dream to have one).

Now a week ago the belts started to give problems and I ordered new ones which will arrive next week. 
At the same time another error has crept in that I just can't find.

When I record via microphone, the recording is crystal clear, but when I record via the two line inputs, the recording is simply muffled.

Well, let's make it short: I'm looking for a service manual that says how to tune the Nagra (to a specific band for example LPR35 or LPR90).

And a manual that says how to get the resistance and capacitor values to calibrate the Nagra. 

Nagra Audio provides the manuals (one is the user manual and the other is the service manual (it says how to calibrate but no values and the position of the parts is not really explained).  
 

https://www.nagraaudio.com/product/nagra-iii/ scroll down to downloads 

Standing by with cable cutters and soldering iron!

Grant.

https://www.sounddevices.com/32-bit-float-files-explained/

But now comes to mind an obsessive question: if gear designers like SD and more are capable of creating machines able to record files in 32bit float resolution, why have they not implemented it in their pro range recorders (like the 8 series for SD) ???!?

Anyone capable to clear the mystery for me?

Thanks

Fred

PS: I understand that the actual dynamic range limit of the recording is that of the preamp and AD converters, yet it seems like a new world to me (remember I started on Nagra 4.2 😉 

I've found this website and start read as much as I can!!

There are professional users here and you help is really precious.

I bought a Nagra 3 recently ( I was looking for it from many years..).

It is nearly perfect for what concern the body, it looks like new, this is incredible for a 60 years old piece... and inside seems to be never repaired.

All the Red paint is in place.

New batteries are now inside.

The motor run as it should!

4 speeds

Rewind is ok, fast forward too.

It plays but the sound is not so loud from the central speaker ...

I tried to record putting a bass on the Cannon /Mic input.

It records and in test mode I can see moving the Modulometer, and hear the sound from the Line output connected on the right.

But there is many noise !

I cannot understand if the line out has problem or I' m doing some mess with banana and jack cables....

I believe is not a cable problem anyway..

What you suggest?!

In test mode there must be no noise at all I suppose.

Many thanks to who want to help me.