henrimic

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.

Good to know. Thanks for sharing.

Sorry for my inability to draw, but here is how I would mic a piano for on screen shooting. Tape two DPA omnis (4060 with flat grid) inside the piano spaced by 1 foot. You can use Wireless, preferably with a stereo transmitter to avoid phase issues. I used this setup for live performance on TV and it worked perfectly. I would also put a spaced pair of omnis or an ORTF at some distance out of frame to give some openness and not being too close.

I may be wrong, but I think there is the network and interfaces clock on one hand, and the devices internal clock on the other hand. I don’t have a Scorpio and DSQD at the moment so my answer is not based on experiment, but I assume there are Sample Rate Converters on the inputs. I know there are are on the AES. Maybe a call at Sound Devices should help. please let us know how you worked it out. We will all be faced this issue in the future.

You can adjust the sample rate and pull-up / down in the Device tab in Dante controller. I am not sure if all options are available on all the devices, especially the DSQD. But I am absolutely certain that any mismatch will not work at all . I found this on Audinate’s website: Sample Rate Shows the current sample rate of the device, and allows you to change the operating sample rate of the Dante device. This may require the device to be rebooted to take effect. All sample rates supported by the device are shown in the drop down menu. Shows the current pull-up/down setting for the device, and allows you to change the pull-up/down setting. The pull-up/down setting can be used to adjust the sample rate of the device to synchronise audio with video that has undergone frame rate conversion. For example, to synchronise Dante audio with video that has been converted from 24 fps to 25 fps, set the sample rate pull-up/down for any relevant Dante audio devices to +4.1667%. Applies to audio channels only. Note: Changing the sample rate pull-up/down for a device places that device in a dedicated clock domain. Dante devices can only transmit audio to, or receive audio from other devices on the same clock domain. See Clock Status View for more information.

May be of some interest for you, not a real world experience, but Raycom did a walk test with these new lectros, bag and cart based.

As you can see on the picture, you can only have access to channels 1 & 2 via the SL6. You need to add a cable on the front plate to use receivers 3 & 4. If I am not wrong, you can’t access the menu of 3 & 4 via the 688.

Here is a link to the knowledge base of Yamaha explaining how to setup a VLAN on a Cisco switch for Dante applications. https://usa.yamaha.com/products/contents/proaudio/docs/dante_network_design_guide/301_vlan.html

Really clever setup. I am interested by this NDI video over IP. What encoder do you use ? The kiloview ? Thx Henri

I would say that both are very capable recorders. You are hesitating between an Aston Martin and a Ferrari... matter of taste. I'll put emphasis on the differences that could make the balance shift. The Cantar X3 can store and recall Input and output grids (20 input maps, 26 headphone and output maps). The inbuilt mixer plate The playback facility The Scorpio can have Cedar SDNX onboard Its layout and ergonomics are closer to the 788 that you already know. The Scorpio weight 1.5 kg less than the X3 wich can be decisive if you also work on the shoulder. If I was you, I'll borrow one of each and make my own opinion. Features and specifications are one thing, but your feeling when working with the machine is another one.

In this particular case, I would recommend to try Ediload that is a real Swiss Army Knife regarding conforming and versioning. You can download a fully functional temporary licence for free and, if it does the job for you, you can rent it on the next projects. It’s worth trying it. https://www.soundsinsync.com/products/ediload By the way, you will still need the AAF for the sounds added by the editor (musics, fx, temporary voice overs, ...)

You will have to re-conform the timeline with the original files using Ediload, Titan or any other conforming tool. In my experience, AAF from Premiere don’t keep the reel name in the metadata, so you will not be able to expand tracks directly in Protools.

It was the morning, the CCM8 didn’t start up, I just had hiss and noise. The CCM41 worked but with a lot of noise. I hadn’t time to make tests or investigate further, we had to shoot so I took my backup Sennheiser. But those are not invincible neither. On another project, in the mountain in winter, my 8060 had « cracks » and hiss. It was cold and humid and as we were shooting while skiing I had no backup. Fortunately It didn’t last and the mike worked normally after a few minutes.

I had a bad experience in a rain forest a few years ago with the Schoeps, so I came back to the Sennheiser pair thanks to the 8000 series that help to minimise the weight and the Cinela Pianissimo that allow me to boom with the MS when required. The 4017-ccm8 combo works really well, but as I mentionned, I don't like shotguns for ambiance. And I really hope that Senny will release a MKH8030, that would be the best option for me.

I do a lot of documentaries and have worked with several combinations over the years: MKH30+50, CCM41+CCM8, DPA4017+CCM8 and more recently I’ve been back to the MKH30+8050. At the time with the Rycotes it was pretty impossible to boom properly in MS without handling noises. With Cinela I have rediscovered the pleasure of booming in MS. But to me, the quality of the sound is not only due to the intrinsic qualities of the mikes, but more to my ability to boom properly. And MS kits are heavy. So, from my Rycote years, I’ve learned to always have a light mono mic mounted with a quick-lock and a 5pin XLR to swap quickly between the MS and mono kit. So, for long dialog parts, I can easily handle the boom and keep it right without hurting my arms. And as I am also working in post for docos, I can confirm that we never use MS for dialogs. The Side mic is always muted. The Stereo sync sound is only used for B-roll with cars, crowd, music, nature, .... but never dialogs. And obviously all the ambiances are recorded in MS or double MS. Last thing, even if I’ve worked with the 4017 and ccm8 combo, I am not convinced by shotguns for ambiance. Hope this helps. Henri.

Hi Martin, I use an Audioroot distro with Hirose outputs to feed my 833. I was concerned like you at the beginning and asked Audioroot what was their advice; actually, there is no issue with the Hirose if you don’t charge the L-mount batteries attached to the 833. The internal charger needs more current but the not the 833 itself. Greetings from VD Henri