humbuk

The length of the whip antenna determines the frequency at which it is best suited. The Bowtie Betso is tuned to 470-700MHz and also has a filter above 700MHz.

It is only my theoretical reasoning. I have tested many antennas, unfortunately not this one, but my combination of shark and dipole. I have the impression that it is impossible to say what is always better, in my opinion it depends on the conditions in which it is used - how many reflections, what is the interference...

This will have to be from the Sound Device service.

It can certainly be done in several ways. But I would first of all agree with the director how he wants to do it. He warned him of the editing problems if he let people talk over each other. My experience is that usually the way is somewhere in between and in places where it is absolutely clear, to keep the actors silent outside of the shot and if there is a danger that they will even slightly get into the shot, or for reasons of continuity, let them speak. Important to warn the director about possible editing problems when they talk over themselves - quite often they don't realize it.

I use a hunting tripod from Decathlon. It is height adjustable and they sell a seat cushion for it.

Digital transmission certainly does not offer greater signal range. The SK5212 has great range, there must be something wrong with your system. I had the opportunity to compare with the digital SK6212, and the signal range of the SK5212 is slightly better. Digital transmission has advantages other than reach.

Does it work better than Clarity by Waves?

https://artaudioparts.eu/products/055640-1-pin-lemo-connector-for-sennheiser-sk1063-sk2032-mke2-1053 https://www.ebay.co.uk/itm/254961634937?hash=item3b5ce5ce79:g:VhAAAOSwXOBgjAg5 https://www.nakas.gr/en/proionta/epang-kos-ichos-eikona/mikrofona/parelkomena-mikrofonon/kalodia-kai-adapters/sennheiser-sennheiser-055640-lemo-connector-1-pin_595150/ It can be bought, but I'm afraid there are special crimping pliers for that. I had a lemo - SMA reduction done in Sennheiser service.

I think very soon... those technologies already work and are here. So far, not in such a quality that it would completely put sound engineers out of business, but it certainly cannot take decades to fine-tune the technology. I'm guessing a year or two - I'm a life pessimist :). But I think that then, as with all technologies, people will get tired of them and will want quality handwork again, but I won't live to see that again :).

There are already options where you can give the AI a badly recorded spoken word and it will almost make a studio sound out of it... it doesn't work 100%, but it will for sure very soon. It's not just a complete AI-generated sound. Very soon, only a sound engineer with a small recorder and a microphone will simply be enough (perhaps in exceptional situations a lav mic will come in handy). But of course a lot of stupid TV series etc. will be all AI. I don't really accept the simplification, as has already been said here, the comparison to the development of a car (and the like). If the cars came, "only" the people around the horses lost their jobs, but it gave work to a lot of others around the cars. Whereas thanks to AI, a huge number of people will lose their jobs - not just the film industry, and the profit from AI will be a few companies in the world, but huge.

Unfortunately, it seems that sound engineers on the set will no longer be needed... or rather, if there will be live recording at all, one person with a recorder and one microphone will be enough, and the rest will be fine-tuned by AI and that's already the present... There will be no need at all for wireless systems and similarly... I'm trying to find the only thing why a sound engineer with a car full of equipment would be needed and I can't think of anything at all....

I have both SK5212 with EK6042 and Wisy MCR54 with MTP40. Both sound pretty similar, or rather both sound great. The differences in sound between the two are not worth mentioning at all considering this is for a bench mic. I also had an older EK3241 receiver which also sounded good, as "Mungo" mentions the output level of the EK3241 can be quite low - it depends on the "setting" - unfortunately this setting is hardware (using a resistor) and can only be done at Sennheiser service. Sennheiser has slightly more noise. But it doesn't have clipping above 20kHz in the compander, which is quite a major problem in remote focusing with cameras and with induction cookers. Wisycom for the older MTP 40 and 41 has a version with an ultrasonic filter, which solves this problem.

Hi, has anyone tried TC sync via audio? The cable connector wiring for the TC is the same as the microphone wiring, so in theory it should work.

So I borrowed a Mackbook with an M1 and compared it with an average (rather slightly below average) PC laptop. And a very big miracle about the M1 does not happen. I tested in Nuendo. The Macbook played high definition video where the PC couldn't (but the PC has a low-cost onboard graphics card). In terms of performance, the M1 handles slightly more tracks and plugins compared to the CPU 11390H, but really minimally. The main difference (good for audio post) is absolute silence from the fan on the MAC side. But I can't say that I would fundamentally lean to one side of the comparison. MAC more expensive but quiet.

For the same use as you, I made a dipole - according to the instructions in the video. But in practice, I have not observed a difference between this and two antennas close together.