newzhack

thanks a bunch. I am looking at buying two dual receiver packages before the end of the year. The deal is thru Jan 3rd. My only hesitation is that when a manufacturer has a discount like this they are about to release a new model? I am leaning towards the smaller receiver for weight and it is 1000 dollars cheaper. I did notice the larger transmitter is listed at 100 MW and the small one is not. I use a SKP 3000 for my boom with a 3041 receiver and that system is working so good I am not going to mess with it. I could clean out my kit of a mixture of wireless systems and reduce the weight tremendously with the small dual receivers. I also have two Sennheiser paddle antenna's. Would they be of any use to the Wisycom? That would require an antenna distribution. I am thinking the receivers will be sufficient for what I do with just the supplied antenna. Thanks again for the feedback.

TK at Gotham in Atlanta

Looking for some input about the Wisycom package deal right now for 3700 dollars. Question MTP40 or MTP41 transmitter? Question MCR 42 or MCR 52 for bag use? Question Any one using Sennheiser 5220 transmitters with these receivers? thanks in advance. John in OKC

Will any later model transmitters work with this receiver? much thanks for any information.

I have one arriving today. Little leery of starting a movie with a new piece of equipment. Gotta be bold. Normally I take chances but I have learned to be very conservative on shoots. 45 years of mistakes. Thats my selling point, I have made most of the mistakes already. In the 70's I fried two Nagra I's in a day. I have tried to run everything off batteries since.

thanks, I will do that.

I am starting a new movie this Saturday and wanted to get some advice on a new work flow I am going to try. I have my recorder set up for 12 channels, I have never used that. Should I look for any gotcha's using the12 channel mode? I have a stable of Sennheiser 5220's and a couple of sk250's that are still working well. I have a mixture of 3041 and 6042 receivers. I usually put and record the boom on x2 and label it boom and was thinking about feeding channel 7 from a 6042 to that channel at line level. That way I have a constant monitor for that channel. I use x1 for comteks. I do a RL mix of the lavs and supply ISO tracks. I do have a cl12 that should arrive this week but I am a little leery of trying to many new things at once. I don't have the workspace for the CL 12 either. I work off the top of a Rocknroller. Also with the CL 12, how much shorter battery life? Any suggestions would be greatly appreciated. regards John in OKC

I had a shoot with a URSA mini pro last week and I found the camera VU meter to be somewhat foreign and that I had to turn the volume up all the way on channel 2 and about 80 percent on channel 1 to get any kind of level. I was feeding from a 664 thru a 10 pin cable. Mic level seemed to work but line level was not enough. Any hints. regards John in OKC

I really like it, about a year of use. It works great with my old sk250's and I have bought two 5220 II transmitters and they work great with it. I have two sony PVW transmitters for a camera hop and I have to turn them off to get the 6042 to do an auto set up. Great range on the freq's. 570 to around 630 something on both the transmitters and reciever. It was a little pricey (3500) but getting those used 5220 transmitters made up for the cost. Transmitters run 6 hours at 50 MW on one rechargeable AA.

Three weeks in that heat was a long six months. My new Sennheiser 6042 got real hot. I kept that fan going with lots of AA batteries.

Of the few online forums I have participated, the people in this forum and sound guys in general are a cut above. I always get good advice from some very experienced people. Thank You.

I continually get offered movies with a 1 person sound department. I tell them it is impossible. I live in Oklahoma.

I am working on a movie right now and had a tight fitting cocktail dress on a young lady Saturday night. I hate those things. Wardrobe wants to do the placement because I can not get to it with the dress zipped up. I finally gave her a hide a mic bra clip and it still had clothing rub. I hate to be defeated over this and the rest of the crew just shrugs at the issue. I can tell some appreciate my tenacity and some don't. Any suggestions.

I did three years full time of Real Stories of the Highway patrol in the 90's. Thinking about dying at the entry way of a Wendy's is just beyond description. What a sad way to leave this planet. Those shoots are bizarre at the least. Up to 40 stops or calls a night is very stressful. I still have visions of a trooper looking up from giving a dying man CPR with blood all over his face. Some of many images that I still carry and yes those images create a world view that most of my family and friends don't understand.

Did you upload the clip? I have had Cos 11 do some really wierd stuff twice. After another mic and transmitter receiver combo I tried a MKE and issue stopped.

I used this mixer for a couple of interviews yesterday and found using the headphone volume for naming tracks to be near impossible with the bag I have. I got this small keyboard that I use with my 664 and it works fine with the mixer. I don's see any keyboard layout info inside the manual. Does anyone have that info?

I have been trying, unsuccessfully, to find some adapters from a 3 pin Lemo to the Sony UWP transmitter. I have two dual channel Sony's that I use for a hop and wanted to be able to adapt my current mic inventory to these as a backup. Betso sells an adapter that goes from Lemo to Sennheiser 3.5mm inputs. I contacted Betso and they said they could provide some adapted to the Sony wiring scheme for 25% more if ordered thru their website after the first of the year.

I tried balanced and unbalanced settings and it just would not read the audio. That cable works great on dslr cameras. I will probably just feed it one channel like last time and mark it down as Red quirkiness.

Had a shoot a couple of weeks ago and I couldn't get my Sony URX hop dual receiver to work with a Red camera stereo audio input. It would work fine with a single 3.5 jumper and I could feed one channel. I tried to use the y cable included with the receiver that works fine on any DSLR I have used it on. It just will not work at all on a red.

I bought a new 6042 dual receiver with their rebate program for 3800 dollars. I sent them a perfectly working 600 mghz receiver and a transmitter for my rebate. They sent me a letter saying that the serial number of the one I bought is not in their database. I complained, they said they would send me my check then never did squat. I have decided to take it public. I got in this same deal with Panasonic 10 years ago and they pulled the same stunt. I am mad about doing it twice. Shame on me and them.

I think the JB1 needs to be mentioned. I would wait for NAB but I don't think I should be there this year. Still pissed at Sennheiser and would probably stand around and bitch to them and cause a scene.

I took my 664 and gave the client a choice. We could lav everyone and I would be less mobile or we could boom and use one wire. He took the smaller package and he was confident in my ability after seeing the 664. I recycled one of my older 195D's that still works great and is in the 500 range

I used the Mix Pre 6 on a shoot last night. Lots of boom work in a busy kitchen. I was able to be much more mobile and the shooter was happy that I could squeeze by him to get on the other side in cramped quarters. I sent the signal wireless to his dslr thru a URX P03D dual receiver. I hardly felt I was carrying a mixer.

I got this feedback from Ultrasync, "I can't say too much at the moment, but if you are planning to use those UltraSync ONEs with DSLRs on your shoot, or have been thinking about incorporating a :pulse, you might want to hold off."