henrimic

A question to Paul Isaacs. on SD’s website, one can read this: Battery charging can draw over 3 A alone, and 4-pin Hirose connectors are only rated for 2 A. The TA4 connector provides up to 5 A per pin and allows for the use of smart batteries. Should We then replace our power distribution that is entirely on Hirose ? Or simply stay on Hirose and remove the Sony batteries ? Or is there a menu to switch off the battery charger ? Thanks in advance for your time to answer our questions on the forum. This is very valuable. Henri

Sound Devices has just launched the new 833.... https://www.sounddevices.com/product/833/ Can’t wait to try it ! Seems very promising.

I did this kind of shows several times, even live, so no post. I always used hypercardioids that I placed in a manner that the dead angle of the mikes where in the direction to reject the PA. Also so important to use a lot of mikes. I usually used 8 to 10 mikes so I could cover all the audience. To cover the first rows, I taped 2 DPA 4060 on the front of the stage like PZM’s. With this his kind of setup you can also adapt the width of the audience to the picture. Not it an easy task but interesting.

À Schoeps W5D or a W20 with Fur. The Cinela Leo gives good results too.

I agree with the need for 4 Mic inputs, even for TV or documentary jobs. I often add a double preamp to the 633 when shooting for a cultural TV show. Recording a small band live, or a theatre play for a short extract on TV doesn't justify a full kit, especially with the time constrains we face. But an MS boom and two more mikes makes the perfect kit for this kind of job.

If I am not wrong, the reason why the ground shield is lifted on one side of the cables between analog studio equipment is related to different power sources and ground references in these devices. If the ground reference is not common between equipments, especially with floating ground or different AC circuits, there will be some current travelling in the shield and thus audible hum in the audio. I just made some measurement on my SD633, the Wisycom MCR42 and Sony wireless transmitters. On all these, the minus of the DC source and the audio ground are linked. So, as all the grounds are common, no current can travel in the shielding of the cables. Also, in a bag, the cables are also really short, whereas in a studio they can be quite long. The only problem I experienced a few times did appear when I cable my mixer to a camera linked to a monitor powered by the mains. If I plug a return cable from the camera monitor, then some hum could appear. But this is a very exceptional case.

I flew to Dubai last month and, seeing my bag with whip antennas and batteries, the cabin attendant on board kindly asked to put my gear in a sealed box...just in case of a defect battery. I actually use Audio Root 89 Wh complying the régulations. But it seems it’s a new way of treating the batteries issue on Emirates flights. Their advice, to avoid this situation, was to put my gear in a small case so they couldn’t see this uncommon bag.

Generally working on documentaries, I use the CCM MS combo with the 41. It allow me to switch quickly from a mono interview to a stereo ambiance. I try to not record dialog in MS except when the action takes place in the middle of a very rich ambiance with sync sounds. I definitely prefer the spaced mikes for pure ambiance sound, but when versatility and efficiency are required, MS is the best system. It's also the most convenient.

Dear Philippe, Thanks for your answer to this thread and the quality of your products. If a 25+19 mm is released, consider that I will be the first customer to buy it ! Kindest regards Henri

Hi David, a few months ago I asked Cinela if they could adapt the Leo MS for a couple of MKH30 + 8050. They answered that it was possible but they had too much work at this time. As these microphones are still very popular, I am certain that a lot of colleagues would buy such a product. Another alternative could be à Rycote Baseball or a BBG adapted to this stereo set. Hope the manufacturers are reading this thread ...

In 1990 I bought my first kit: a MKH 50, MS system with MKH 30 + MKH 40, Rycote windshields, a wireless Sennheiser SK2012 /EK 2012 with MKE2, a SQN IV-S for ENG and a second-hand Nagra IV-S of 1978 for filmwork . After a few years, I replaced the SK 2012 by two VHF Audio Ltd 2000 systems. I still own the Nagra that is working perfectly.... but it's now a piece of my personal museum.

The first series of the 8060 had humidity problems but have been modified and replaced by Sennheiser. The new ones with the black ring are rock solid (I work with 4 different ones) and never had the slightest problem. It's a great mike for eng work, inside and outside. Its small length is a great advantage as it fits in a small Rycote. The output level is huge and the sound is just excellent in my opinion as it helps to extract the voice from the background. But in matter of sound, tastes are very personal.

I've tried it on my 8050 even outdoors with light wind with the fur of my W20. The baseball is very transparent, far better than the Schoeps. I hope Rycote will also make a 22mm version for the Neumann KM Series.

Oops, I should read more carefully the dates ;-) By the way, I love this forum. Thanks for sharing your experience.

To answer Nick about French TV, the large capsules they use are Sennheiser's MKE40. These are cardioids Lavallier. Sounds great. Really useful in debates with a lot of people around the table and a PA for the audience. As they are cardios, they are very sensitive to head movements. If the talent turns his head hard left for example, you really need a capsule in this direction, reason why they always wear two mikes. And as à backup for sure.