henrimic

This is great news. I couldn't justify an annual subscription to the pro version, but knowing that I can rent it on a project basis is a really good idea.

https://radiuswindshields.com/collections/rad-shock-mounts/products/rad-1-shock-mount Never tried myself, but I know colleagues who love it ! This family company was founded by former Rycote owners. The price stands between the Rode and the Cinela

Very sad. My thoughts are with you Jeff.

I am mainly working on documentaries and always have a MS rig with me, but only for B-roll and ambiance recording, never for interviews or dialog. The idea is to be able to record wild tracks or B-roll shots in stereo, just by activating the Side without having to change the microphone on the boom. For example, if we are shooting on a market, in a kitchen, or filming cars passing, planes, or animals in a farm, birds in the forest, if it rains, if there is a street musician, … (well, you get the idea) post have all these ambiences in stereo and can upmix it easily in 5.1 if needed. Instead of searching for sound effects in libraries, they can use the sounds of the location, and this is a real added value, and producers are generally ok with the rental of the MS rig. My main microphones are still the DPA 4017 or the Mini-Cmit, so I can pickup dialogs with the best rejection and I just add a CCM8 in my Pianissimo which is not really noticeable regarding the weight. Inside I’ll work with a CCM8 coupled with a MK41 in a Leonard.

The Sonosax R4+ coupled with the AD8+ will give you 12 channels of first-class, battery-powered, highly portable mic preamps. With the Dante option, you can also use it as a premium interface for your DAW. Having worked with many other brands, I find the Sonosax among the best preamps. https://sonosax.ch/product/sx-r4p/ https://sonosax.ch/product/sx-ad8/

https://www.betso.eu/rf-octopus This appealing new product can also measure cable loss .... but not only.

https://dhundesigns.com/products/a20-tx-plug-on-adaptor

Just their website https://vdbaudio.com/produit/vdb-audio-finger-control-surface-12/

Schoeps unveil the new KMIT capsule for the Colette Series at IBC in Amsterdam. This is the same capsule and interference tube like the Cmit family, but without preamp and compatible with the Colette range. It is now possible to have a Cmit combined with the new CMD42 Digital Preamp. https://schoeps.de/en/products/shotgun-microphones/cmit-series/kmit.html

Hi Fred, I have installed this one on my cart. Very light, sturdy and easy to attach with pipe clamps. https://www.manfrotto.com/global/extension-for-light-stands-black-099b/

I use the A10 version but these are the best I’ve found. Very easy to swap from one boom to another. Different diameter available for Panamic, Ambient and VDB obviously https://vdbaudio.com/produit/vdb-audio-a20-boom-vdb/

Many thanks Jeff for your commitment to our community. Hats off to you !

TX Advance seems to be the one you are looking for, but only working on Android. https://www.compasseur.com/ Never tried it personnaly, but I know french colleagues who use it extensively. You can also share scans with other users.

The Cable Ties from Porta Brace are great to attach the loop of cable to the bag .

I have this exact setup. LR mix, MS boom, 4 to 8 AES receivers inputs with the RC8+ extension. I choose this machine because of its sound (preamps and headphones), the lightweight and the power consumption (5 to 6 Watts). Those are important features for me on documentary shoots. Mechanically, the R4+ is bulletproof. I have worked under really difficult conditions in remote location in the North with snow storms and heavy rain, not a single problem. But…. I also have experienced some freezings. Not much, never critical, never lost a file, but it happened. Generally, the problem comes when you change the configuration, adding the extension, changing the pots from gain to fader, assigning the same input to multiple tracks…. Things that I never do while shooting, but more in preparation. After some discussion with Sonosax, Indeed, I try to keep the unused AES inputs switched off. I also had a weird problem with an Neo Audioroot battery. Sometimes, the machine would shut down because the battery sent wrong informations. Battery changed, the problem disappeared. Great machine for me, never let me down, but you have to know it.

Forums like JWS are a goldmine of information for professionals and I regularly browse topics from past years. On social media, it’s very difficult to find archived content. And here we are not tracked or overwhelmed by irrelevant posts. Thank you Jeff and all fellow colleagues.

Just to be more specific At the end of the day, I give my card 1 to DIT or who’s in charge. When I'm back home or at the hotel, I make a back-up copy of card 2, and that's when I sort out and rename the wild tracks. I only send the folder with all the wild tracks at the end of the project, in one go.

My way of handling wild tracks…. I tag files on the recorder, while recording directly in the metadata. Easy as a simple shortcut on my recorder. After copying the card, I isolate these files in a « Wild » folder, and rename each sound like this: ProjectName_Location_Description_MS ( or Mono, ORTF, whatever). I send then this folder to editorial with a sound report in pdf. Simple and easier for everyone. It takes me a few minutes but I am certain that the sounds will be used.

MS is the de facto standard for documentaries here in Switzerland. I use a MK41 + CCM8 with a Cinela Leo indoor and a DPA4017B + CCM8 in a Pianissimo outdoor. I also work on post on documentaries and I have to say that I barely use the S on dialogs, except for situations with many people at the same time (around a table for example) or when there is a nice background outdoor. But the main advantage of a MS boom always ready, is that you can quickly record wild tracks on the fly, without changing your cables and setup. And collecting ambiance is very valuable for post.

Here is the message posted on LinkedIn by the team of Aaton Digital: We are sad to announce that the Aaton-Digital adventure ended on February 15, 2024 by a court judgment. Three years of covid-19 followed by a long strike by cinema professionals have profoundly affected our sales. Faced with no prospects, the company was liquidated. We thank all our users and partners for their commitment and passion during the ten years we have gone through together

Before sending your recorder in for repair, try opening it and taking a look inside. I lost the TC input on mine years ago. It was just a disconnected ribbon cable. I've never had another problem since. If you're not afraid to open your device, it may be as simple as that. But it could also be a fault in the power stage, less obvious to repair yourself.

Each frame of LTC is coded by 80 bits. In 24 fps, that's 24 x 80 = 1920 Hz of a square wave. That's a perfect signal to record on a audio track, wether the center track of the Nagra IV-S or any specific track of an analog VCR (1", 2", U-Matic and Betacam were all analog recorders). Even the Betacam Digital used 3 analog tracks to record the CTL (Control signal for linear editing), LTC and a scratch audio track for fast forward and rewind.

I use the Laavu bag that is made for the 833 + SL2. Fits perfectly and very lightweight. https://www.audiosense.be/en/laavu-833-sl-2-kor-833sl2

I just finished a movie where the actors were whispering and then suddenly screaming in the same scene. I used the A20 mini's with the A20RX plugged in AES3 to my Sonosax R4+. The mikes were DPA6061. The Gain forward principle worked perfectly for these tricky situations. With my old Wisycom systems, I should have set the gain very low at the transmitter to avoid clipping in the loud parts, and thus would amplify the noise in the quiet parts. I don't know how SD achieve this, but it was a life saver in this situation. I have to mention that I used the older A10 for the booms. In these scenes, I set 20 dB of gain at the transmitter, and amplify the quite parts at the recorder, and it worked very well too.

Exactly. The idea is also to get rid of the PA system. You can always create a sense of spaciousness by panning the different mics.