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  1. I'm a R4+ and M2D2 user and would say Sonosax all the way for music. I used SD and Zaxcom for many years and have recorded music on them for convenience with good results, all fine, great machines. but doing the same with Sonosax is a big jump in musicality and 'ease of sound'. Generally the stuff I have recorded that way has been small music groups playing mostly acoustic instruments along with multiple voices, with a mix of ribbon mics and dynamics, leaving the Schoeps and so on in the cabinet much of the time.
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  2. Nice! How wonderful it was for me to actually be with people in the real world. I have been so overly cautious because of Covid I have missed so many events, so many people. It was great evening, I think one of the best Awards show we've done.
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  3. Now that sounds sketchy to me. Yes sound is pivotal, but calling it that as part of the hiring process screams fake to me. Come to think of it, the whole thing looks like it's written by ChatGPT to me. Lots of words that say nothing.
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  4. Sunday, March 24 at noon Mountain Time (UTC -6) This will also be available afterward. Link:
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  5. I think the more (potentially) consequential debate is to ground the shell or not.
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  6. (Your) ears are definitely not matched ;).
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  7. I was just filming outside of Nashville for the week and found BLK 22 was definitely congested, but still was able to find something that fit. There were plenty of options in BLK 19/20. Using 2x DSR4’s RX’s, paired with SMQV, SMV, SMWB TX’s I use FreqFinder to coordinate.
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  8. D Clay Audio, I don't know if this helps at all, I couldn't find a TXAdvance scan in Nashville, but here is the closest. Chattanooga.
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  9. The SNA600a is 2:1 only at the band edges. When defining bandwidth, the 2:1 value is a commonly accepted bandwidth definer. Inside that bandwidth, the SNA600a SWR is much lower on the order of 1.2:1. Keep in mind, a tunable bandwidth may be useful in attenuating undesired RF. "Different horses for different courses" . Best Regards, Larry Fisher
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  10. Okay cool. It seems like I'm not the only one looking for a solution to this. I've started writing a library in C# for interacting with a 788T over usb and so far it's been pretty successful. Using the USB disables the C. Link In jack on the back but it seems like the C. Link Out still sends "Broadcast All" messages to other machines attached to it. So theoretically, you should be able to not only roll/cut all of them, but also sync settings like Date/Time, file names, recording specs, etc. to the whole C. Link network. I don't think accessing each machine seperately works over C. Link though if you're going through USB, you can only send commands to all of them at once. Once I get it working I'll write a small windows test app I can post here to see if it works anywhere besides my desk haha
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  11. I’ve been on a mic acquisition kick lately, and I’ve ended up with too many shotgun mics, so I need to figure out which ones I want to keep as my workhorses. To help me choose, I decided to test to them all under controlled circumstances and see what I could learn. I wrote way more than I intended, so instead of posting the whole thing here, I put it in a post on my website. And for those who don't want to read an 11-page review (I don't blame you), here's my last-paragraph-first summary: https://documentarysoundguy.ca/the-shotgun-shootout-schoeps-cmit-supercmit-sanken-cs-3e-sennheiser-mkh-60/ Enjoy, and happy listening!
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  12. You can find all the latest firmware and documentations at www.cantarx.com . There is also a "Cantar X3 User Group" at facebook with all documentations and repair guides.
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  13. Vac cleaners use high power slip rings and are kind of crude for a mic signal and difficult to isolate from EMI. Their systems are quite big, for longer and thicker cables. Some even only have 2 "channels". The better ones come with constant torque springs rather than power springs. Over all, they are not made to be taken apart and I have given up attempts to harvest them from old units before. A DYH-1703 may have the right dimension, though also not small and the breaking system would probably need some modification to be quite. I do not have or have used one. I do use a DYH-1816 without the break on the boom but 3m max is probably too less for a bag to boom scenario.
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  14. Didn't know about these but there's also "The Cable Binders" by Bubblebee. Seems to be the same thing and might be found at the same store you buy or rent your audio gear. At least that's how I stumbled across them.
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  15. Martin Mitchell, here in the UK, https://martinmitchellsmicrophones.wordpress.com/2023/08/ tried a pair of Roland CS-10EM Binaural Microphones/Earphones last August, and added a couple of recordings to his web-page. These Roland earbud mics cost only about £80 (US$100) ..and I've just seen a used pair on eBay for £60 (US$75). The quality is really good (I have a pair), but - as DocSoundGuy says - although played back thro' earbuds the sound is immersive, with over-ear cans instead, or standard loudspeakers, the effect is more dispersed, 'lighter-weight' or rather tinny. With buds stuffed in your ears, reproduction does sound as if the listener is really there, but without having that replay sound stuffed straight down your own ear canals, you miss much of the immersiveness. But they're a cheap and great way to experiment - instead of buying a Zylia 19-mic golfball!
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  16. in 2024 this is still not clear airport to airport. I have been flying a bunch carry-on only lately. Calling it a Fish pole or mono pod seems to work and a mono pod it is authorized for carry-on bags specifically. But it truly is up to the discretion of whoever pulls your bag aside. Total gamble and I feel a bit risky with an expensive boom pole. Oh my aluminum traveler is compact and expendable if it came down to it as I knew I could bill for a replacement in a pinch with those I travel with. I typically will add a second pool in a checked bag or in one of their SKB golf bag cases if Camera Dept I am traveling with Will allow me to
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  17. I used to do that. The airlines were fine with it until they weren't. Now I play safe, because it's too much stress finding out at the airport that they want me to check a bare boom pole.
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  18. For travel where size is of importance I use a 16' cabled Loon Pole and it will handle a blimped MKH70 no problems, for the shorter pole I have a PSC 12' cabled that also travels but is mainly a backup. The extra sections make sure that they fir in my case and the problems don't seem to effect performance when fully extended. Both poles have done the past 20 seasons with NFL Films no problems. When travel is less of a problem and I'm running wireless booms I use my selection of Panamics as the main choice. I've always been happy with them and when they were built in Watford even visited the "Factory" (Garage) and chatted with the guys there. My original 12' aluminium pole was designed for use with a blimped 416 with minimal bend. It would also stand an 816. Even the 20' Graphite pole I got later in my career has worked well with anything I've put on the end. These poles work well with less sections
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  19. Similar name, but two completely different machines. J
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  20. This is great info as i myself have been struggling with air travel and a boom pole that works for me. I have a shorty ktek aluminum traveler that i dread using but it fits my carry on
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  21. I've had a K-Tek "Traveler" pole for 15+ years. Six sections, collapses to under 60cm. It's not my main pole, but it's been fine with whatever I throw on the end (typically a CS3e or smaller). So I suggest at that short length 5 vs. 6 sections isn't a big deal.
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  22. +1 - I've owned and used this exact setup: STSC-4 with a pair of ccm4s, and as OB1 says its very secure... and no reason to think the newest mini lemo amp CMC 1L paired with an MK 4 would be any different. Schoeps promotes it as much, here: https://schoeps.de/en/products/accessories/stereo-accessories/bars-and-clamps/stc.html ORTF as you no doubt know was originally conceived for French Radio to be a very natural sounding and quick / reliable stereo solution with "decent" mono compatibility. But for those times when you have more time & the curiosity to experiment - and since you seem to be starting your Schoeps collection from scratch - you might also consider the MK5 capsule which can be both an omni and cardioid... and voilá you also own a pristine spaced omni pair for about $300 per capsule more vs the MK4. And if you haven't already, check out Gearspace.com Remote Possibilities in Recording & Production for a lot of helpful info on all things classical & acoustic recording, ORTF and AB stereo and recommendations on the MK5 capsule in particular. Have fun -
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  23. I have a lot of experience with this stereo bar. They are very secure and cannot be knocked out unless you are forcefully trying to (dropping, etc.). There are also variations of stereo bars that can be purchased (in the USA) that offer other stereo solutions like DIN, NOS, and a variation of DIN but at 17cm instead of the 20cm. So with that you can prepare for multiple scenarions (wider stereo separation, small or big rooms, etc.). If you need further info on the alternate stereo bars, reach out DM, I know some of the manufacturers personally.
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  24. I'd imagine that, once the dust clears, someone would probably be able to fix small problems? Hell, you can still get your Nagra repaired back to factory spec so I'd hope you'd be able to be able to fix a machine that literally existed up until this year!
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  25. An Update: After some discussion and asking around, it looks like buying a second Block 21 UCR411 is my best bet. So that’s what I’ll do 👍🏻
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  26. Hi! I believe most tripods are suitable for this microphone because it is lightweight and doesn't require a lot of strength! I included a picture to show that I wanted to place it above the choir conductor, so a tall tripod is needed. However, for nature walks, a smaller and lighter one is much more convenient. Attached to the back tripod, I have a recorder, and for that, I use the Manfrotto MS0490C Carbon Nanopole Stand. The first K&M tripod is quite thick and would need a special attachment. Generally, I use the smaller tripod; I later bought the larger one for recording the choir. The Schoeps W5D Windshield is sufficient for me. I usually don't record in very strong winds. But what do you mean by "decent quality"? 😁 I meant that even those who are picky will probably be satisfied - polite and neat.
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  27. You are right about the distance: A misunderstanding on my part. When comparing a half wave dipole to a wideband bowtie antenna I assumed the half wave dipole was a builtin antenna in a receiver. My silly mistake By the way, the Lectrosonics SNA600a with its thick elements is a kind of a wideband antenna. A similar trick to the Nadenenko dipole you could see on many trawlers. That said: antennas can get detuned by stuff placed inside the near field (roughly 1 wavelength) and I wonder whether a wide band botwie can be a bit more "lenient" in that aspect. If someone can lend me one I can give it a try with the VNA (By the way I edited my previous post about amateurs using multi-narrow-band antennas instead of wide band ones). For some reason it got eaten (or I hit send before finishing it).
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  28. Thanks for the encouragement! I am going to try and get out more but still mer fairly cautious when it comes to large gatherings of people indoors. I do know that most people have had Covid, many have gotten it several times. I am as fully vaccinated as anyone can be at this time but I still hope to avoid getting it at all.
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  29. Sad news for Lemo. We can assume that Nikon will pick one style of Lemo connection for Red Cameras.......
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  30. 5/8" rod does not fit.
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  31. I agree with The Immortal Mr. Tea's and IronFilm's assessment ... you shouldn't be considering the H recorders, they don't do what you need as a boom op. Make your decision based the workflow / ergonomics you need to work better and more efficiently, and ignore 32-bit. I have an F8 I could sell if you decide to go that route.
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  32. I work mainly as a spatial audio recordist and designer and have done this exact thing on many projects over the years (as well as ambisonics and other spatial audio shenanigans). I own the 4560 binaural headset as well, but, a pair of 4060’s is actually more versatile so I mostly take those for binaural in-ear recordings. The capsules are the same anyway. I spoke to DPA about this a few years ago. You don’t need to complicate it with wire. Just pick up some silicone ear hooks (the kind that hold the cable of in-ear headphones in place over the ear). Then use the foam windscreen around the mics to keep the capsules in place at the entrance to your ear canals. You don’t need to go far into your ear canals as that part of the head related transfer function will be added by the listener via on-ear, over-ear and most types of in-ear headphones anyway 😉 Technically, you should have the diaphragm element (if you take off the mic grids, the side with the holes) of both DPA’s facing outwards, but, in practice, it works fine to just put them in place in whatever orientation, so long as they stay in place and are equally arranged in both ears. You can use some tape instead of ear hooks and also some tape to secure the cable on your neck if you want. Last tip: they look ridiculous but pick up (or make) something like a pair of the ear-muff type Soundman windscreens (for their OKM binaural microphones) as other types of wind protection don’t give you enough dead air combined with a secure fit. As for speaker playback of binaural: I like it and think it has more depth than stereo, but, I know this is contentious! You could use an ambisonic microphone instead and decode for both binaural for headphones and stereo for speaker playback. But, it depends on where you want the greatest effect. Direct binaural recording is still more immersive than binaurally-decoded ambisonic, unless you include headtracking.
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  33. right the phone is a bit bucket for redundancy and convenience. The m2d2 also has a headphone jack, and I'm assuming (I hope reasonably) that combined with my reasonably good headphones, will make for good mobile listening.
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  34. I'm not quite sure what you're getting at with the frequency response chart. The M2D2 is basically a USB-C sound cart or interface so whether you write the digital file on a high-end recorder, a computer or a smartphone doesn't really matter quality-wise. It's just the already converted file that will be the same everywhere you store it. Playback quality is not the reason for using a phone, I guess. Or am I not getting something here?
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  35. I used this mini clamp, just because I had it laying around. Clamped to the pistolgrip.
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  36. Cantar is a niche product. Expensive to make due to R&D and software development. You better be small not to make bankruptcy or you would have to kill the product and make something for the masses on a lower budget.
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  37. I happily use the NOVA 2, Nomad 12's and now Deva 24 on a daily basis on Episodic. Each fill a roll perfectly encapsulated with Zaxnet control over all my wireless.. This "Eco System" is what eventually doomed Aaton. Selling a recorder is good. Selling a Record and all the wireless is even better.. With that I would see the only "Fit" to purchase the Aaton assets is a Wireless company looking to join the Ecosystem world..
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  38. Imagine if Blackmagic purchased Aaton and released a $3K Cantar Mini v2, that would be insane!
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  39. In general, it is very strange to see that much lack of competition. Making an audio recorder and it´s UI is not an atomic science. I don´t prefer the anatomy of cantar recorders at all - it makes even easy operations tricky. Boot times terrible. Input functions limited. Unbearably heavy. Lack of MixAssist / Dugan until the last minute, Lack of SuperSlot. Stiff onboard mixer faders (great cantaress, though). A need to buy an external box to have physical gain knobs. Buttons don´t work when dust gets in. There´s too much stress on set to operate such an absurdly complex piece of equipment on top of it. It´s not doing anything else than recording an audio signal and timecode ! Cantar only worked mentally in some absurd way : once you forced that thing to operate the way you wanted, you got honored with that spurious "atomic scientist pride". But that didn´t win a nobel prize for you. That´s where the audio mixer job only begins. SD, ZOOM and even ZAXCOM make much more straightforward equipment. Yes, I don´t love the overheating Scorpio that´s less durable and flawless compared to 6XX/7XX line but it seems like it´s the best new piece of equipment out there recently. My secret horse is ZOOM Japan. They´re a hair away of making something big. Add Dante support, double the channel count , make bigger mixing surface with same brains as great F - Control. You will rule this market. RIP Aaton. You were not my love but you have my respect.
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  40. I have a 4minX. I hardly use it, but good to have. At some point I will sell or barter it inside EU, so, I am not advertising mine to you. I cannot confirm the slight tone at (was it 8?)kHz. Maybe my unit is not affected or I just don't hear it. It can be notched out later anyway. 2. The menu and overall firmware design did not reach adulthood and things like metadata, monitoring matrix, menu ergonomics and some other foo are a complete pain in film workflows. Probably much less so in music room recording, if you can prepare in advance. It has 4 analog inputs, yes, all with 48V, but they come in two pairs with diffent dynamic ranges! Dig the specs, and compare with other brands/models mentioned in this thread. You can add more channels with an old MixPreD or Sonosax M2D2 via 2 AES pairs that also offer AES42/SRC btw. The unit is quite big, but it is still light as they enclosed a lot of air. The main reason why you probably won't buy a 4minX is, there is virtually no market! At least last time, I checked.
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  41. This is a better definition of the problem you are trying to solve. You should have started there. A 744T / 788T is a great recommendation! I always forget about those recorders, but I think this is what you should buy. I've owned both the Nomad and a Nova. I don't know anything about a hard-wired bass-roll off ... as far as I can tell, the pre-amps are very similar, and I haven't had an issue with getting full bass range. If you pick one of these, go for the Nomad, it has more analogue inputs, plus an additional 4 line inputs. I think the Sonosax / Nagra probably sound great, but honestly, all of these machines are excellent. Sonosax, and especially Nagra trade on their excellent analogue designs from decades ago, but, good as they are, so is most of the competition these days. It's a lot easier to get great pre-amps now than it was when they were in their heyday. I'm sure they sound great, but I'm not convinced they are worth the trouble. Given that are you in the US, I'd probably buy from an American company for ease of service and access to parts. If something breaks with one of the more esoteric recorders, you might be waiting for months. But I appreciate Neil's testimony that the Sonosax sounds better than the 6-series. That's worth something IMO.
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  42. After ordering one 6 months ago, I finally got it the other day. The Good: - Motorized faders are as quiet as any I've used. Certainly more quiet than my Avid S1. - Touch screen is fab - Software is superior to Behringer/Midas. - Boom recorder and it got along great The Bad - Only two tracks on the recorder? Come on! - Has a clock, and even a frame rate selector. No way to jam in or out. No 23.976! - Limited FX The Ugly - .500ms changeover from Primary to Secondary. All my other stuff is seamless
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  43. This has already been posted to some effect on a couple of FB groups, but there are folks here that don't journey into the meta. My cart for the last many years was much larger as it housed a much heavier and extensive amount of components. I kept using the rig even as the gear became smaller and was capable of even more functionality. I decided it was time to re-think my set up and look for a more ergonomic and smaller footprint. I wanted a standing rig (yes, I sit during set ups and when not mixing), and something that would be more nimble in getting into tight spots. Looked at several different manufactures and custom cart rigs and settled on the Inovativ Deploy as the base structure. Needed some covers and extra bits here and there to fulfill the demands of production, travel and safety. Photos below are what we've ended up with. Always a work in progress but so far happy with the results.
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  44. I know this is an old thread, but I don't think the info already presented is correct. Here is what I gathered after a lot of reading, but someone who owns these mic packs will need to test: Sennheiser Evolution Wireless Transmitters These have a 2-wire mic configuration for common source mode: power through a resistor to the tip; signal on the tip; ground on the sleeve. The ring is a line-level input, which should be muted when not in use by shorting it to ground. Sennheiser EW Mics These are 2-wire devices for common source mode, with the drain on the tip and the source and case/ground on the sleeve. The plug should also short its ring to the sleeve. Sony UWP Transmitters These are meant for source follower mode, with signal on the tip, power on the ring (NOT through a resistor), and ground on the sleeve. The Sony service manual for the UTX-B2 shows the power line as 5 V with no resistor, and a load resistor from signal to ground of 10 kilo ohm. Sony UWP Mics Mics wired for Sony UWP transmitters expose their drain, source, and case/ground on separate contacts (ring, tip, and sleeve, respectively), so they're fully compatible with source follower mode and common source mode, just by changing the connector wiring. Adapting a Sennheiser EW Mic to a Sony UWP Transmitter Some mics wired for Sennheiser might actually be 3-wire devices. So it's worth disassembling the plug to check. If it's 3-wire, you'll find the source wire and shield both connected to the sleeve (and ring), and the drain wire connected to the tip, and then you could just switch the wires around to make the mic work with the Sony UWP transmitter in source follower mode (shield to sleeve, source wire to tip, drain wire to ring). But with only 2 wires, you can still build an adapter. A proper adapter would put the microphone in common source mode by having a resistor between the transmitter's ring and the mic's tip. 6.8 kilo ohm is the value suggested by Countryman for their B6 mic and Sony UWP transmitters, and I imagine that value will work with most 2-wire mics as it's a typical value for common source mode inputs with 5 V power. You do need that resistor, because it becomes the load resistor and the varying voltage across it is the signal output of the microphone. Then also connect the transmitter's tip to the mic's tip, and the transmitter's sleeve to the mic's sleeve. An improper adapter would connect the transmitter's ring (power supply) to the mic's tip (drain) and the transmitter's tip (signal) to the mic's sleeve (or ring, which is the source). The transmitter's sleeve (ground) would not be connected to anything. This puts the mic in source follower mode and you will get sound. But it's not a good configuration mainly because the signal is carried on the shield, which means it's effectively not shielded at all, and vulnerable to RF interference. Also the output signal (source) is fed back to one side of the microphone element, though I'm not sure if that would have any effect. If you had a 3-conductor cable (2 wires plus shield) from the mic plug to the mic capsule, you could have ground on the shield and still get a 2-wire capsule to work in source follower mode with a 3-wire input. That's certainly better than putting the signal on the shield, but the capsule's case would still be connected to the signal line, potentially allowing RF interference to enter through the capsule. Adapting a Sony UWP Mic to a Sennheiser EW Transmitter Wire the transmitter's tip to the mic's ring, and the transmitter's sleeve to the mic's tip and sleeve. You also need a wire from the transmitter's ring to the transmitter's sleeve, to mute the line input. Changing a mic between source follower mode and common source mode changes its performance characteristics. In common source mode, a mic will be more sensitive (by 9-10 dB), less linear, and have a lower SPL before severe distortion sets in.
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  45. I don't know the impedance of an Idaho potato, but when our car antennas were broken off in the 70s, pushing a potato onto what was left of the antenna worked really well.
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  46. I've had the same warning pop up as well as another one saying I have "exceeded maximum allowed power consumption." They both have happened at totally random times. I unplug/replug the CL-12 and it goes away, or plug in the DC boost and it goes away. For information's sake; my headphones are always plugged into the 688. I've never plugged a keyboard or light into the CL12. Only other cable into the CL12 is the DC Boost. I've been told to try a different USB cable, I just haven't had the time to do tests. But, that seems to be everyone's advice; change the USB cable.
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