henrimic

You are right, out of the charger, there is not so much difference. The duration between 2500 and 2850 mAh is marginal. And it's not scientific by any means, but I feel like the Eneloops last longer. After two years, I had many failures with the Ansmann.

From my personal experience, The main difference between the Eneloop and the Ansmann is the way they keep the charge. If you charge fully both batteries and store them for a week, the Ansmann's will be partially discharged, the Eneloop less. I personnaly use the Ikea Ladda 2450 mAh that seems to be rebranded Eneloop's.

Interesting, thank you for sharing your first hand experiences. Compared to the MK41 how would you describe the “reach” oh the 4018 ? I read elsewhere that it was wider, closer to a Cardioid.

You are right, .... but actually the adaptors are not really the problem, I should have written "the bnc connectors are are bit bulky". And as all our beloved bag receivers and even the SL2 now are sma based, a sma version of the SNA600 dipole would be great.

If someone at Lectro read this, would be great to have a version of the sna600 with sma connectors instead of bnc for bag work. I simply removed the mounting and “Velcroed” two dipoles on my bag and the results are brilliant, but the bnc to sma adaptors are still a bit bulky. just a suggestion;-)

Hi Ben I had this shooting two days ago with two Phonak Roger, and here is my report. We used two different models: the V1 with the "Base station" (Line input only) and the V2 with the "Multimedia Hub" and its mini-jack input (line too). I havn't noticed any improvement regarding the range between V1 and V2. Generally, it's quite limited, no more than 15 - 20 meters. I definitely prefer the multimedia hub as you can pair it with a classical IFB receiver and place it easily close to or even in the pocket of the talent. The sound is clear and the volume is OK. The talent needs to place it well deep in the ear to avoid any leakage of this tiny sound in your microphones. I did not experienced any disturbance with other 2.4 GHz devices. Hope this helps. Henri

I won’t comment on the diversity type, as this is a kind of very controversial topic. Lectro use antenna, Wisy use « true » diversity, there is also the vector diversity now, so, I’ll let the experts debates about what is the best. what I can share on the other hand, is a direct comparison between the MCR42 and the MPR52 in a bag. I did an experiment a few month ago with both receivers, tuned on the same frequencies and made a walk test to compare which one was the best… and in the end, there is not much difference but I was surprised to see that the 52 had slightly less dropouts. I am not sure about the reasons, but I guess that the 52 has more selective front end filters. If someone from Wisycom follow this forum, he could maybe confirm this, but definitely, I can tell you that the 52. Is very capable, even if it’s not a « true « diversity receiver. it’s only drawback is the fact that the two receivers must be tuned in close frequencies, but is this really a problem ?

Hi Ben, I’ve worked with the base station a couple of time and I am not certain the antenna is removable. And I may be wrong but I am pretty sure it’s a line level device. What I can tell, is that the repeater is an absolute must. The range is far better and this little box is very easy to hide close to the character. An even better solution is to use the « multimedia hub », same box as the repeater, but with a mini jack input. You can easily tape it to an IFB receiver and you have than the same range as with regular VHF or UHF transmission. I have a shooting next week with two earpieces, one with the base station and the other with multimedia hub. I’ll let you know how it compares.

I had good results using Unity Intercom. https://www.unityintercom.com/ Easy to operate as it is based on iOS or Android devices. You’ll have to setup a local base station and a wifi router, but it can also work via their cloud server with 4G. The PTT can be triggered by a Bluetooth button. https://www.unityintercom.com/unity-tech-notes/new-ptt-options You can download a 14 days trial version and there are many explanations on their website.

You can also link the channels by fader and gain or just fader if you want. And they don’t have to be adjacent. For example, you could use channel 3 for Mid and 7 for Side and just link the faders. In this case, all the other parameters remain independent. You’ll find this option in Setup Channels / Group.

You’ll need an audio embedder to SDI like this one from Blackmagic. https://www.bhphotovideo.com/c/product/1335394-REG/blackmagic_design_convmcauds2_mini_converter_audio.html this one Is only 8 channels, but is among the cheapest. It work really well, I use one regularly for live streaming. Aja converters work well too. if you need more than 8 channel, you’ll need a studio converter, far more expensive….. https://sonifex.co.uk/redbox/rbvhcmd16_ld.shtml But all this means having a cable between you and the camera.

Sound Devices / Audio Limited has launched the A20 mini and the features are impressive. Internal Recording, Timecode, size of the 2040 mini TX, can be powered by Sony or AAA batteries, remote operation from the 8 series or a phone, .... https://www.sounddevices.com/a20-mini/ Can't wait to try it !

I would convert mics to line level or better, Dante, placing the preamps right next to the mics. A line level or Dante signal should be less sensitive to hum and buzz.

Hi Sebi, when I was in school, I loved being on set as a psm as much as being involved in sound post production. When I first started working, I was primarily a sound recordist, on documentaries, television and stories. After a few years, I had an accident and couldn't work for several months on the set. Fortunately, I had the opportunity to work in post-production, which limited the loss of income. After my recovery, I was happy to return to the set, but I didn't want to leave post-production. With some colleagues, we started a post-production company and split our time between post-production and shooting. That was in 1998 and since then I've always been involved in both sides and I love it. I feel like knowing post-production helps me on set, and when I'm there I really know what's needed and what's important. And I can tell that directors like to be with someone in post who knows how it works on a set. But I have two very important points: - If I'm working as PSM on a project, I'd rather not be the re-recording mixer. The film needs different perspectives and points of view. - I work mostly on documentaries now, and I feel like having a foot in both parts is more accepted than in fiction. If you feel you like both aspects of sound for picture, don't limit yourself. Henri

Feeling of spaciousness. If you prefer XY, choose super-cardioids, the separation will be better. Actually, MS could work too. Adding a pair outside the piano will give you more room and more « open » sound. It’ll help also in post to vary the proximity to match the picture.