petersont

and then last but not least there's sea sickness: you better have been to sea & know whether or not you have a cast iron stomach if you're heading off the southern ocean, doesn't get much rougher.

ditto here with the NP-L60s also & it 're-awakens' from its sleep once plugged back into its charger ( mine is the travel charger that connects to the battery plug...). I actually asked ProSound NYC send mine back to Swittronix to see what they could find and all they said they were fine... guess its hard to reproduce the problem.

hmm, will it have input linking of multiple ( more than 2 ) faders for surround gain control, I wonder...

Regarding the 3 tenors pic above, assume having the pair of schoep 4s are just for safety during a live performance, right?

imo, simply having put another 2 preamps with surface faders onto the 744t would have pre-empted any number of other products on the market. why they never did a mystery to me save maybe adhering to the misguided maxim of not cannibalizing your (other) product line, ie, refer to Jobs' quote. I resent having to tug along a separate pre-amp to allow mic inputs for channels 3&4 for music & dms ambience. And in my work I seldom need channels 5, 6, 7 & 8 of a 788. So +1 on the previous post about getting the Sonosax SX-R4 right. I hate its display, too small for my eyes. I like the 744t display - big enough. I think there is a market out there for a great 4 channel, 4 pristine preamp recorder. Just look at what Nagra and Aeta and SX came out with. But this porridge too hot (Nagra too big) and this porridge too cold ( SX-R4 too small ) and I really dont know enough about the AETA. my 2 bits.

good point about self-noise... but Ambient has been busy!

+1 for Olympus LS-11. No fuss, battery lasts forever when using it for line-in backup/ bit bucket, the on board mics useful in a pinch, know of BIG name re-recording mixer whose used it for FX gathering ( alas.... ). Stereo mini in, no independent channel level setting, but its just fine. But cannot imagine going wrong with any number of choices in the $3-500 range.

is important when you tell something to somebody, isn't it? http://youtu.be/5Up8-HCnA_o I'm putting in my order now_no emoticon. Maybe... but this is getting more interesting: DC-R32.tiff

going back back a few posts... Might there be the ability to gang more than a stereo pair, ie 3 channels (or more) for something like DMS recording? thanks

Mike - if you ever get the chance or inclination, I'd really be interested in a comparison of how you think the DPA 5.1 sounds compared to a dms system with top shelf mics... using a front mid, a figure of eight and a rear facing cardioid. And on an economic note, certainly more versatile for uses other than surround. I have used a schoeps ccm41 or CMIT as front, a ccm4 as rear and a ccm 8 as side & have made some vivid 5.1 recordings. But I have never tried any other system....

thanks all for the replies- a good while back when i regularly lugged TC nagras around the green green fields of wherever, Audio Ltds were the wireless of choice for sound for film & I loved them. Beautiful sound. Maybe the new mid-level ones sound good as well. As for the suggestion of Zaxcom recording transmitters, I've yet to try these out but seems pretty logical. I recall a shoot many years ago placing a mini-nagra with reel on a skier, not unlike using Olympus LS-11s and such w/wired lavs for personal recorders. But that said, I think it will take some adjustments to not having all roads lead to my ears for input in the field... plus, as mentioned, I have a need (love...) for location ambience via dms/ms and so a dedicated recorder is a must. And yes, if the damn dollar ever gets back up against the euro, a Sonosax SX-R4 is absolutely wonderful, in sound & size and weight, plus perfect for DMS with 3 channels gang-able. But I HATE the teensy display, hate it... why they could not have taken the space for the brand name or made the box an inch wider and made the display iphone size & with some colors is mysterious ( nagra VI display is beautiful; SD 744t's works great, can glance down and always know what's what), but was told by Pierre that's its what its customers desired. Lots of ideas, much appreciated.

thank you Jason a dual receiver is a great idea and a definite wish list item... The zaxcom one has been great when i rented it in the past. Pricey to buy, but quite light & could do double duty back here for more cam hops & more ( when I can get production to pay for one, which is rarely). I will need a dedicated recorder though - 2-3 channel music/boom duties, etc. There have been mentions here and elsewhere of the Audio Limited Envoy 2 series dual diversity receiver, but not for sale (yet?) in USA - lower output than the Lectros but small and light & certainly less expensive than the Zaxcom, which for me is a very good thing. People here who use the Sennheiser g2 or G3, would like to hear your input on their sound, robustness, etc. cheers

hi all: I own a few set of Lectro 411s and rely on them constantly - they are essential in my work in & around NYC where I am based. But I also go off on the more remote doc a time or two a year, where I am sometimes required to trek & climb & scramble for days... and from prior experience, I'd really like to shave some pounds and size ( the 411 rxs are almost a pound apiece & big) from my kit. While I hope to address other weighty components ( nomad being one consideration for reducing size & weight...) for now I am interested in opinions on other wireless systems that, while they might lack the robust front end & RF power of the Lectros, can produce quality audio in fairly close ranges & might be just fine in remote & relatively RF free environments. Any shop testing I could do would be in midtown NYC, which kind of makes the sample more difficult to assess... So - those of you who trek or cave with gear other than Lectros, what are you using & why? Audio quality? thanks!

Yes, double mid side is what I meant. And that's good news, thanks. But some FX clients ask for 96 khz... so a 48k limit not so good.

Scanning through this thread, saw no mention of ganging multiple faders... how about the ability to gang three together for DMS work?

but here's what is inside the box, indeed modular and a choice of colors ( limited for now...):

since we're all now squeezing out hints like excited children way, way before christmas morning, i'll chime in: for rough & remote docs & then often w/1 hand on the pole, on a scale of 1 out 10...?

I tried one out at pro sound here in nyc when they first came out and thought the build wasn't quite as 'tight' as i'd prefer. granted this was a year or so back, really wanted one because of the modularity & price but given a shake or two i could hear some looseness in the seating of the blimp elements... seemed a bit sloppy to me. Listening now to others, i can only assume that maybe they've gotten better. i still use their other blimps but maybe will give the S another try Anyway greg, go by and test one out, Rich usually has a few in stock-

NY1 here in NYC has been just one-person ( journalist/on-camera talent, camera & audio ) going back 12-13 years: i remember seeing her dragging gear around and doing her own stand-ups... eventually she made it to the news desk, god knows she worked hard for it. and holding a hand mic is holding a hand mic...

"...on CASINO they used 3-channel miking on the VO to make it sound even bigger." hmm, more information, please...?

howdy- Just curious about some tech protocol... Were you running double system the entire time? If so, would you mind detailing the specs, ie what camera and what TC frame rate, was the 744t the master clock, were you using a lockit box or just jamming directly a few times a day, etc.? Also, did you record the m-s audio as discrete mono or did you matrix to l/r in the field? Really interesting story, thanks for the information. peter

Hello Courtney - In this instance [syncing audio to cameras without dedicated video/tc in abilities, like the HVX 200...) you suggest using the SB3 for generating TC ( jammed from something like the 744t... i assume ) onto a channel of audio... Is there ever any danger of bleed through? Also, do you ever suggest sending tc via a comtek or Senn G2? Does this work as well? I ask because arranging for rough location / pilgrimage doc shoot with several different cameras positioned along the way, one pro and others not [Not necessarily all shooting at once] and want as simple a way as possible to give post a fighting chance of easily syncing everything up... so i will record master audio to 744t and jam cameras i can with Sb3 ( as you and other say, tri-level not necessary ) and others either send tc or just use a denecke ts-c slate when possible. I know its all over the place, but my thinking ( right or wrong...) is that between camera mic tracks, Free run time of day on all cameras jammed from 744t , maybe TC on audio tracks, and slate things will come together in post. I am certainly open to advice and appreciate your time - thanks, peterson