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    I do this.
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  1. After having a good experience with a rented 8050 for a sit-down interview in a quiet room, I rented it again for a boom/scripted situation, hoping it might be a Schoeps killer. It was NOT a Schoeps killer. Mud, lots of HVAC, no presence. Did not have a low-cut unit on it -- I suppose results could be different with that in place.
  2. I'm so old I can remember when bands weren't going to have drummers anymore. 😏
  3. a) There are no easy answers -- many times pin assignments can be a gear-to-gear situation. b) For the G4, (and assuming you are using the EK100 G4): as long as you are still going to use the Sennheiser TRS-to-XLR cable to come out of the receiver, then yes, just wire 1-1, 2-2, 3-3 for the XLR extension. c) Sennheiser pin-outs for their bodyworn/beltpack transmitters and receivers can be VERY tricky. I can't speak to the G4 series, but I know on the G3 gear, these are not balanced connectors -- it's something like the tip is mic level and the ring is line (don't trust my memory on this...) -- always consult documentation for that particular model (which, in Sennheiser's case is usually pretty poor). d) I don't think there's one right answer regarding whether a straight XLR mic cable should have the shield connected to ground. Many high-quality cables do not connect shield to ground, but some mics (for example, my Neumann TLM 103s) perform very poorly if it's not connected.
  4. Hey, everyone here replies to years-old threads, right? Did an Amira job in Feb. 2019, no boxes on the two cameras. The eyeball test said they held jam over every battery change I directly witnessed. I tend to check TC whenever I get the opportunity, and don't recall any other eyeball-visible drift or big jumps during the course of a five day shoot. Re-jammed at lunch nonetheless. Small sample size, but they looked pretty trustworthy based on it.
  5. Drop v. Non-drop: no matter which way you've got it set, if you didn't ask post you're doing it wrong. >:-D
  6. I can say this was definitely not the cause in the case I describe above -- it's one of the first things we check when TC isn't running, and we weren't overcranking at all that day, and neither had the camera hadn't gremlin'ed itself into that mode. I was definitely some kind of bug.
  7. I'll give you a bunch of answers/opinions that don't directly address your main question: * They're two very different beasts, so which one is more 'versatile' doesn't really apply. * That being said, if I'm faced with a mic/situation mismatch, I'd rather work with a interference-tube mic indoors than a super-cardiod outdoors. * I adore the sound my 8060, but I find it has too much low-end for even moderate amounts of wind. I really need to get the cut attachment. * Most of my work is either documentary or corporate, single subject or distance. Usually I have the luxury of aiming a shotgun just right when it's above a single interview subject, but it is indeed a luxury. I'd hate to have to try to split actors in-close for a cinema project with the 8060. However, for wide shots I find it has a lot of presence even at distance. * So, to answer slightly more directly: I'm always operating on a shoe-string, with a minimal kit, and I only own one boom mic, and that's the 8060. It gets me by for my low-budget close work where something like a 50 would sound marginally better. When I feel the project calls for it (a scripted commercial indoors, for example, or a doc with a decent budget) I'll rent the industry-standard Schoeps MK41. * And just for yucks I'll throw in that I tried the MKH 8050 for scripted, hoping it would be a Schoeps killer, and I was quite disappointed.
  8. Recently did a job with this exact combo of gear (664, JB-1, FX9). Yes, we did have issues. Once when I first attached the JB-1 to the cam at the start of the day, when the camera was already powered on. Then later, while the JB-1 was still running and connected, but the camera had been powered off between set-ups. Both times we were eventually able to get the FX9 to start reading the timecode, but we never figured out the cause-and-effect -- we just toggled some menu settings back and forth a few times, and eventually it started working properly. We had done a job with this very same gear a couple of weeks before and there had been no problems. I suspect firmware bugs. How do we get Sony on this? P.S. - should also mention that when we had the problem, the timecode at the FX9 did not move, neither when the menu was set to Free Run nor Preset (nor any of the other menu settings which are slipping my mind right now -- regen? rec run?). So it wasn't just that the jack and hardware wasn't seeing the incoming TC -- it just sitting there stationary on a seemingly random number, not running any TC at all. (I don't think we ever tested whether it moved upon hitting record.)
  9. It was five years ago, but back then Professional Sound Services was able to get me VdB parts. There was quite a wait, however.
  10. I'm very late on the draw here, but for anyone else experiencing a similar problem: the 664's external power connector is very user serviceable. I once had the retaining nut loosen to the point that the jack was floating around in the socket, so I took a look. The bottom of the case comes off with 12 fairly hefty philips-head screws. (Remove it gently, as there is a ribbon cable from the main board to the word clock sockets mounted into the back side of the bottom cover.) Once inside the external power jack is secured in with a regular old hex nut, and the lead goes to the main board on the same kind of plug connector that you commonly see for CD-ROM audio in computers. It's very easy to diagnose and replace the physical connector.
  11. Hoo boy, that is DEAD-NUTS ON! Thank goodness my Spidey-Sense still works. And thank goodness for JW Sound Group!
  12. Hi folks. I've recently been cold-contacted by someone who found a long-forgotten listing of mine on Media Match. This person is working for a production company in Europe, looking to produce something in the U.S. The position is slightly above my bread-and-butter level of production (which tend to be small and local to my home in New England) but the contact doesn't seem to mind. But something about it is making my radar blip a bit, although I can't put my finger on it. It could be the language barrier (the e-mail has very obviously been either auto-translated or very poorly translated by someone whose first language isn't English). The details of the production keep sliding around, such as the name of the film and the production company involved (although I am aware that there's frequently a multitude of different companies involved with any one production). The production companies he has named seem legit, have Wikipedia entries even, but preliminary web searching on the contact's name and production company names hasn't turned anything up. Throw in the fact that the job in Hawaii in December, and the whole thing seems a bit too good to be true, no? So I'm wondering if any of you have some feedback on how I can vet this company before getting too committed. For example: where should I search? What kinds of info should I request from him without making it sound as though I am suspicious? How could I go about linking his name to the real production companies he has referred to? Things like that. Thanks for any help you can lend.
  13. Bouke, I just took a look at the VideoToolshed website: amazing! It's like you're single-handedly trying to solve every workflow problem anyone has ever had!
  14. Thanks for pointing me to that. The biggest takeaway from that thread, at least as far as it pertains to the mix-and-match question: This would be an interesting thing to experiment with if I end up back on that bag. It also aligns with what I was seeing as far as levels: plenty of signal according to the lights on the transmitter, but hardly moving on the receiver's indicator. I'm guessing the receiver was expecting 75K of deviation and seeing only 50. Better technicians than I would need to theorize as to why the top end would be missing.
  15. Hey folks. I'll be taking this up directly with Lectro as well, but I wanted to see if anyone else has had experiences with mis-matching NuHybrid transmitters with older 400 Series ("NA Hybrid") receivers. I knew this would come up at some point, and it finally did on a recent reality job I parachuted into, where I substituted for the primary mixer and took over his bag (literally in the middle of an interview). Certain channels sounded dull and weird, and the receiver screens were giving me untrustworthy info about battery and audio levels. I did a bit of examination and discovered that a fair number of the transmitters were NuHybrid only, but all the receivers were set for NA Hybrid. And it was an exact correlation: the mismached channels sounded odd, and the channels that were 400/NA Hybrid at both ends sounded fine. (The primary mixer was apparently entirely unaware about what NuHybrid was in the first place.) I was surprised that the mismatched channels functioned at all. Thus far I haven't unearthed any web info from Lectro regarding their position or philosophy on this. (Obviously mismatch is bad practice from the get-go, but why did they leave the possibility open, for example.) Anyone have more experience, info, opinions?
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