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About thenannymoh

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    audio tech, editor
  • Interested in Sound for Picture

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  1. Hi all - looking for recommendations for getting video reception to my sound cart and monitor, particularly when I may be some distance from video village. There are times when running cable is inconvenient or impossible, and while I often have access to a courtesy video receiver from the camera department for some productions, these often don't have the range I need (and being rentals, they can sometimes have sketchy reliability). Very occasionally, I'm told I can tap into a wifi broadcast (using Hollyview or similar), but these have very limited range. Also, like everyone else, whenever I'm adding another wireless piece of kit, I need to know it will play nicely with all of the audio transmitters and receivers on the cart. Something I own and have tested is preferred. As a mixer, I'm less interested in picture quality, and more interested in range, easy of connectivity (at tx end at the village and rx ends on the cart), portable powering options, and minimal RF spray. I would love to hear people's suggestions and experiences with these systems.
  2. food for thought...the 411/400 used kit holds its value well. Buy it, use it, sell it later if needed...you won't really lose money.
  3. I have both. If you can keep both, do it. The 50 is my dialogue work horse, but from time to time I'll use the 40 for sit down interviews. It is also an amazing backup, and I prefer it to the 50 for car dialogue. The 50 sounds nice for music, but I prefer the 40 for that for sure. If I had to have just one, the 50 hands down.
  4. Wow Larry, thanks so much for your advice and insight. Helps me understand something I've always been a bit fuzzy on
  5. Question about my antenna setup. Here is the hardware - 2x SNA600a dipoles (set to block 21 length) - 2x 10' of RG58 antenna cable - Audio Wireless DADM226 antenna distro - 6 receivers, all a mix of SRbs and 411a's... (block 21 only) The question is: would there be any benefit to inserting a block 21 passive filter (such as a PF25) into the signal flow? Would it be redundant in any way? There are times when I have 8 channels going at once, as well as 2x IFBT4s (also block 21), so the frequency space can get a bit crowded. Thanks!
  6. 5 of them will easily support two kits on the same day (688 and 633), feeding a mix of 411s, SRs, Comteks, and Lectro IFBs. They are very reliable, and charge quickly in the Remote chargers.
  7. If you are a working pro, and don't have at least one backup mixer/recorder that can produce quality equal to the main unit, then you are putting your reputation at risk in the event of a disaster. Clients don't want excuses, they want results. And this says nothing of the convenience of being able to quickly leave your cart with something very portable for an hour or so during the day.
  8. This is so true. Worth every penny in the end.
  9. Is that distortion sound happening on inputs 1-3, or 4-6 on your 633? Do they sound like a mild distortion or like a popping plosive?
  10. Total rabbit-hole...my accountant is going to curse you
  11. You are right... Inside the tube would be more compact. When I first thought of a cup holder rig, I did envision something inside the tube... When I tried to implement that, I needed a much larger piece of pvc pipe (3"), and that created some problems with usability in different car setups. However, I've never heard of that Floater! Too bad it is discontinued...
  12. Hello all - for some time, I've been trying to get a quick setup car rig working and sounding right, for those times when I want to use my MKH50 or 8040 for car dialogue (either standalone or to supplement lavs in the visors). The lavs in visors work fine enough, although I'm not fussy on the sound reflecting back from the glass. And we all know that the challenge of putting a mic lower in the car is battling more road noise and bumps. Clamps or suction cups, for me anyways, are always a bit hit or miss...they may be in the way of a camera in the passenger seat, or they transmit road vibrations too much for my liking. So I've build a dual shockmount system that fits into most cup holders. I found that a single shockmount for the mic wasn't enough to eliminate road rumble, so I build something out of spare mounting parts I've accumulated over the years (a rycote mount) to hold the mini post. A SmallRig ball rig allows for 360 adjustment for mic direction. In the pics you are looking at a Sennheiser 8040 (with filter module) rycote baseball, and a self built mic shockmount using various strength lyres. The PVC piping is 2", and is got a $5 neoprene bottle holder to make the fit snug into cupholders but soft enough to not add rattle My rig is for those car scenes shot without the car being towed (ie engine on, talent actually driving). This happens on lower budget shoots and docs all the time. Still a work in progress, so thoughts and suggestions are welcome!
  13. After calling Lectrosonics, that is exactly what they advised and you are right, that fixed the problem.
  14. Hello all! I have a newly acquired Lectro HMa, to go along with my older HM. I immediately noticed a difference in the input gain levels...the max on the HMa is 55, and even set to max it is relatively lower than the older HM. This is occasionally a problem with some of my mics that don't run as hot as the others, and in whispered dialogue. Has anyone else noticed this, or do I need to send it in for a checkup? (it has the latest firmmare version installed btw) Thanks!
  15. I don't think you can go wrong picking up some used G3s or Sonys...they give flex and utility in your kit (hops, director monitor etc). As you are just starting, I'm curious as to what shotgun mics you have and what you are recording with. I am in the buy-once camp also...it is sometimes hard to square that circle when you don't have the steady income yet though as a starter. I like things that hold utility even if they aren't what I'll be relying on a year later. With that in mind, used Lectros have amazing value...UM400s, UCR211, UCR411...alot of these used on the market at great prices as the pros buy more of the SMs and SRs. You won't be compromising on sound quality at all, just a bit on the conveniences.
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