colinmk

Yeah I've used it and works well. Can mix and match with your usual G2s, G3s etc with pilot tone off so you lose the dual channel option. Didn't notice much if any degradation of sound(transmitting to G3s), can attach usual aerial to the rack transmitter. The XS receiver packs are bigger and not as robust, maybe don't sound quite as good - although I think it's not far off(I use them for client cans etc if required) and the range is not quite as good as the G3s etc but again not too far off from my quick test.

I use the 5212 as spare/backup tx and in all honesty as a radio mic(remember radio mics are barely ever perfect) I can't tell any difference quality wise between that and Wisy. People have said the key test fails but that's not been a problem for me in real life. I think their battery life isn't quite as good. It's a sound investment if that's what you can afford, they sound great, tiny and work perfectly with Wisy receivers. Might be worth keeping an eye on older Wisy TXs now that MTP60s and 61s are getting sold though, they will be cheaper.

I just use the Tentacle app on my phone if go pros or DSLRs are dong 3rd or extra cameras. Give the editor something useful anyway and directors usually grateful.

Only smart battery I've had go bad is an audioroot NEO, have had quite a few audioroot, inspired and RRC. Just about to send it to get tested, it's done less than 50 cycles.

230km/h, you'd be stone dead, never mind the Cinela!

Nice. Is that the portabrace bag and it fits perfectly? Just about to order the RX8 and use for Wisycom too.

This could be a great solution I think for the Sonosax and a couple of receivers. How are you guys covered for rain/sand? Always found the plastic attachment on the common bags pretty invaluable in that respect and trying to work out if a DIY job would be good enough.

It's still by some distance the best sounding machine I've used, although I still love the sound of the SQN I have too. Had to go to my backup machine for a spell while it was stuck in customs(thanks Brexit) after a repair and really noticed the difference. Sonosax should probably have been given more credit for developing and releasing this machine when it did - very high track count, loads of AES, advanced power options and the best sound all in one tiny and very light machine. Like all of our gear, it has it's quirks and with Sonosax being a small company it can be a bit slow to iron these out, in my opinion. In saying that though repair turnaround has always been fairly swift. The LC8+ is great to use, does exactly what it should. I would hope to use it for at least another 5+ years unless some kind of drastic change in technology occurs and given it has also now added dante and the upcoming module for holding two MCR54, can't see that being the case.

Kind of similar here, except a European experience. Was lucky to get trained up as a dubbing mixer as we call it here from a very experienced mixer that was travelling up to our rural location from London every other week. Did 6/7 solid years of work on lots of TV stuff but mainly re-versioning cartoons and docs. I am quite an outdoorsy person though and found life behind the mixing desk and screen every single day wasn't for me. So I gradually managed to lean into the Sound Recordist route, building up first on an SQN straight into cameras and then moving on from there. I still do a company's post sound for them though and it really helps me earn a decent living all year round. Conversely it probably means I don't try quite as hard to get as much work as I can on the location side of things as other recordists around here though because I know I have that bread and butter dubbing work throughout the year, also the dates sometimes scupper some interesting location jobs I get offered. I also do about 70% of the post stuff from home and with covid probably even more as you are just sending on the mixes for reviewing themselves(which has it's own pitfalls!). It's a good mix for me and some directors/producers are impressed I can do both and appreciate the knowledge that comes with that, some don't care. As Philip says also, I feel I have a good understanding of what is acceptable dialogue recording in the field because I know what should be possible or acceptable when it gets to the dubbing mixer.

I go for this too if the jacket isn't too noisy or rubbing off beard etc which usually means lots of problems though... How do you guys attach with bubblebee on? Sometimes causes me problems moving about and coming off.

So you guys have a (dual)receiver and a transmitter mounted on camera??

What are people's go to gain settings on the wisycom tx on a 4060 for average dialogue level?

Nice, have done similar and will be testing out properly this week. Tried to fit a cut overcover in but it was a bit messy and kept coming out. Would be interested to see a pic of Rado's fur solution. Shame the snorkel has such wind issues, maybe a future version that could be addressed.

You have used Wisycome MCR42 with Micron? I have been told they don't have an option for that? Interested to know as I am getting an MCR42 and would be very useful to have them compatible...

Cheers. I'll try overcovers on their own with them. Last time it was a woman with a mostly see-through white long-sleeve top and made my life difficult. Think in the end it was her bra rubbing off the top that was causing the most noise though, very annoying. Cameraman was pissed off they had her wearing that white top too, was silly. Have had good success between buttons on shirts with the concealer and generally good on males.