colinmk

On 12/1/2023 at 6:45 AM, DanieldH said:

I've worked with EK 300 receiving the signal from an MTP40 (in proper compander mode). Subjectively this had less noise floor than the variouse SK units and being able to tweak the transmission power improoves range slightly, e.g. compared to an SK100. 

The price is obviously much higher, but if you have a spare Wisy TX around anyway, it is an improovement.

Can you get the EVO compander in the MTP40? I've only got ENC or ENR in all of mine...

On 11/27/2023 at 4:48 PM, Derek H said:

“

The signal should be compander free and…”

 

 These are analog. If you look at the specs it will confirm. Sennheiser is discontinuing the G4 series at some point soon. I suspect these are positioned to be a budget-level IEM once the G4 replacement comes out which will be digital and probably priced higher than the current G4 IEM system.

 

I spent awhile on the phone and over emails with Sennheiser to find out if these new XSW receivers are compatible with G4/3/2 transmitters because it would be nice to be able to add less expensive receivers to an existing setup. They were pretty coy about it and I got a couple of no’s but someone did finally test it for me and said that the audio did come through. I think they’re a different compandor than their usual “HDX” one so you’d have to listen to see what they sound like. 

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. 

1 hour ago, Kambor said:

The upgrades would be in the size of TX, form factor and RF filter quality of RX, and wide band. In Spain we still have 470 to high 600's open, but TV stations are scattered and it changes a lot.

 

I know all wisy would be ideal, but investing 10k is really out of the question right now. With 4x 5212 I would be pushing 6-7k, not low budget but more manageable. That's why I'm asking for people that have used these TX.

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! 

On 3/17/2023 at 9:32 PM, Patrick Tresch said:

Just got mine 😉 everything works like a charm (with beta FW 4.0) I do use a MCR54 in one slot.

 

The R4+ and the RX8+ with an Audioroot 48wh and a 96wh battery is 3.55 kg (7,8 pounds). 13hours to empty with 4x analog 48v and 8x AES in and 4rx enabled MCR54.

 

 

 

 

 

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. 

On 5/23/2021 at 8:05 PM, Philip Perkins said:

I've done both for about 35 years, after being just a location soundie (and filmmaker etc) only for about 10 years before that.   If you want to do both sorts of work you are in luck in being in Europe, where having a single sound person for both production and post is something of a tradition.  In the USA that is not true, and there are many barriers to working this way, but hopefully you won't encounter them.  I very much agree that working in post production audio (and being up on current techniques) really adds to one's value as a location sound recordist.  As you said, it means that you have a vivid idea of what sorts of location audio problems can be fixed, to what degree, with how much labor and what the results will sound like.   In the USA, in the larger markets and on larger productions there is a strong bias against people who are other than specialists.  This bias is reinforced by the unions, and a sound person who purports to do both tasks is often regarded with suspicion.  But since you are in Europe I encourage you to try this path if it interests you--I have found doing both "sides" of movie audio very rewarding.

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. 

14 hours ago, VAS said:

 

I am using this as much as Ι can (if clothe allow them - visibility) and I don't have problem with noise from fabrics.

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?

On 25/06/2016 at 3:34 PM, Jose Frias said:

I'm a big fan of the new concealer mounts with the metal spacer. It pushes fabric away from the mic element, and it seems to work about 90% of the time for me, but I did too experience a lot issues with any normal wind conditions outdoors. Then I began experimenting, and decided to try the regular DPA lav windscreen and I sandwiched it within the concealer, and voilá, no more wind noise issues.

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.

Do you usually stick the DPA concealer to the inside of the clothes? I've not been having great luck with that recently - stuck to inside of top with stickie and concealer and no overcover, might have just been some noisy clothes though.

The automatic level control shouldn't be an issue if you are using as hops form your mixer I suppose. Probably going to get these as 2 channel hops, sounds like it has a lot going for it.

Thanks for the info Fred. Yeah, some of the work I do wants a 2 channel hop sent straight to the camera so this might fit the bill. The ease of plugging it straight into the XLRs is most appealing. Also the factor it's away from the RF in the UK. Half a frame of delay roughly(I think!) is not going to be a problem for me. Obviously being able to use them for radios is also an added plus for the price.

Cheers

Any idea why the latency is so much in comparison to even the Rode link which is 4ms?

Considering these as dual camera hop in the UK - solves the problem of sharing the 606 range, would 19ms not be roughly half a frame delay @ 25fps? Seems fine if so. Also as previously posted not sure about the automatic dynamics, sounds dodgy.