Trey LaCroix

I have had that happen many a time. blocks 470 and blocks 19 have overlapping frequencies and while it will receive signal if the block is wrong the squelch won’t open because it’s looking for a different code.

I once had the Lectro TX set to NA Hybrid and the RX was set to NU Hybrid. It cause distortion really early. TX limiters didn't kick in and the RX level meter looked totally good. Confused the hell out of me. Karl at Lectro later confirmed this can happen. Possibility?

I’m far from an expert here (hopefully Larry, Karl, Gordon, Glenn, etc. will chime in) but I know filters are additive and will add noise into the signal. While a well designed and built filter from a reputable manufacturer probably won’t have any noticeable noise I imagine adding several will increase your noise floor. I have found that a single, well made filter provides plenty of attenuation on either side and don’t need anything more from it. I don’t think “doubling” it will yield any benefit. I would use the Wisy filters and select the “wideband” filter in the SL-6.

I like my ambient quick releases.

There is a Sonifex until that will convert AES to Dante.

They are Coga Glopots. You can get them at most of the usual suspects. Not only do they glow in the dark, but they have a better grip IMO.

My custom bag from Protogear. All of the front pouches are removable/modular. Antenna/monitor mounts. Lightest bag I’ve ever owned that can adapt to pretty much every gig.

I’m salivating 🤤 Do you think there would be a way to rig a metal plate on the car headliners so you could just pop these babies on and adjust to your hearts content?

No, digital modulation is inherently proprietary.

What value resistor is in the TA5? DPA recommends a 3.9k resistor. To tickle the red on my lectros I have to get it in the mid to high 30s with a 6061. Maybe there is a different value resistor or maybe they didn’t wire a resistor at all? That could explain the high levels.

We used to use an MM-1 going into a UM400A (then later an SMV) and it sounded great. Gain staging wasn’t the most precise if I recall correctly but we found a sweet spot that worked really well. We set ours up so that the limiter on the MM-1 would kick in a little bit before the limiter in the transmitter and the levels on both were close enough. I don’t remember the exact numbers but we were typically within like 3 clicks and always made an adjustment there, never at the lectro. We used a line level cable to go XLR out to Ta5 and also had a g3 with my slate mic going into the monitor in for comms. it was bulky but man did it sound good!

I was thinking of getting one to use with one of my Shure AD1s. I like the NP-50 battery.

I sold all my Rycotes to buy a Piano and a Pianissiomo 4 years ago. Never once have I regretted the decision.

I'm working on a show with two tiny Marshall car cameras that only output 30fps despite the show being 29.98DF. Does anyone know of an inexpensive, portable video converter to do this? I realize this is not a sound issue but I'm trying to help camera out (and want to make sure my files sync properly). Maybe something like one of those small Blackmagic converters?

My boom op likes to spin the boom around like a bow staff when we’re using the 8060/pianissimo combo just to demonstrate how quiet that mount is. No handling and it takes a lot of wind to hear it.