Trey LaCroix

My favorite lav is the Schoeps BLM 3G. Way easier to hide than a Shure 57.

Thanks for all the info, I’ll keep it as is for now. Used it today and sounds exactly like my other schoeps despite it being close to 20 years old!

I just got a great deal on a used schoeps 641 and am now the proud owner of a pair of these beautiful mics. However, I noticed that the used one does not have a gold plated xlr connector. It instead has a black one. I seem to remember that the gold plating was a later design and helped protect against RFI. Am I correct here? And would it be worthwhile to send it back to schoeps to get it updated? I know some of the older schoeps were susceptible to RF. Any info would be greatly appreciated!

Thanks! Thought as much but figured I should ask.

Hey there, I know it is not a great idea in theory to run a digital AES signal through an analog cable, but wondering what real world experiences people have when running for short lengths. I have a specific cable I like to use for all of my bag cables and it would just be going out of my receiver to the input of my mixer, so maximum 1ft. Thanks!

SX-M2D2 Product Announcement The SX-M2D2 is a lightweight 2 channels high resolution dual-domain microphones preamplifier with integrated USB audio Class 2. Compact, low power, battery powered, the SX-M2D2 embeds similar high performance dual A/D converters than the SX-R4+. This product is the ideal companion for various mobile environments. Its ergonomic has been carefully designed for convenience and easy of operation. Inputs / Outputs 2x mic/line inputs on TA3, electronically balanced, with phase reversal, 48V phantom, LF cut and level control on the front panel 1x AES3/AES42 on TA3, transformer balanced input with phase reversal, 48V phantom, LF cut and level control on the front panel 1x line output on TA3, 2 channels analog unbalanced 1x AES3 output on TA3, 2 channels transformer balanced with ASRC (48/96/192k) 1x USB audio 2 channels input/output on micro USB type B connector independent line/headphones stereo output on mini-jack Performance 135 dB (A-weighted) overall dynamic range THD < 0.001% 90 kHz overall frequency response @192kHz 24-bit 48/96/192kHz Powering external DC 9-18V on Hirose 4-pin external DC 5V on micro USB removable lithium-ion battery, charged with external DC input intelligent energy management User interface 128×64 monochrome OLED display two rotary encoder for gain control intuitive menu navigation Mechanical Machined aluminum housing overall dimension: 74 x 28 x 130 mm (2.9’’ x 1.1’’ x 5.1’’) weight 300g (0.44lbs) with battery mounting holes on both sides optional mounting bracket for still camera Note: preliminary specifications, subject to change without notice

!!!!!!!!!!!! https://www.sonosax.ch/category/news/

Stole your idea and took it a step further! Using the trim knobs couldn’t be easier now. Thanks for the inspiration as I never would have thought of this on my own.

Thank you for all the responses. They were never able to give me an example or a more detailed description as to what they wanted. The closest they liked was the Crown mic, but then suddenly changed their mind and decided the DPA was what they wanted (Phew!). And they decided they want skin colored now. The ordered is placed and I’m praying they don’t change their mind again! At least I know of every headworn mic on the market now! Ha! I was getting to that point!

Believe me I know! I’m the least sports literate person around and I know they don’t wear them. Thanks, the lingering fear was that even if I find this illusive microphone, it will sound like crap. Maybe I should just very plainly tell them that if they want a fantastic sounding mic (they said it needed to be the best sounding mic possible haha) they really should go with the DPA. I’m glad I’m not going crazy and that this isn’t a mic everyone knows about!

Hey David, I’ve shown them those they were a no go. In the last phone call they said it was not a “commentator headset” but more like something the players would wear... but not a lav. Really starting to get confused.

Hey everyone! I just got hired on a job recording a live concert of sorts. I guess the group is going to be active while they perform and the client requilestrd a head worn mic. I immediately thought of the DPA and Countryman types but I guess they want something different. I asked for a picture as an example, but they haven’t been able to find anything. i guess what they are looking for is a “silver headset mic with a very short boom and mic on it.” According to them it’s “very common in the sports world.” I don’t really work any sports so I’m wondering if there is a certain microphone I’m just completely unaware that they are referring to. any help would be greatly appreciated!

Thank you for correcting me. Between those options there are actually a lot of different options. The one I have has no optional connector so I ran out of outputs quickly.

One of the usual suspects actually just gave me an R4+ to review last week. Although my cantar mini experience is very minimal, I do want to say that the R4+ is the best sounding machine I have ever heard. The preamps are very detailed and extremely quiet. Noticeably (in a quiet room) better than my 633’s, which I actually find quite nice. It is very configurable and customizable. However, one of the biggest issues I see with it is the lack of outputs. It has one line out and a multi pin AES output. While I think it’s awesome to have aes outputs, many things we use don’t have digital inputs. For the jobs I do, I need to be able to easily send to camera, comtek, sometimes a boom ifb and route different things on them. I think they make a cable ($) for a special 7 pin xlr connector you can have installed on the side ($$$) to get direct analog outs, but that’s a lot to go through for such a basic thing. Maybe others have figured out better and easier ways to do this or I’m missing something. I’d love to be wrong. The other thing that may be an issue is that there are only 6 pots on the recorder. If you are used to a Sound Devices mixer with a trim knob and a fader knob and wish to continue working that way you would need the add on knob extension (more $$$). But.... IT SOUNDS F**KING GREAT!

Pete fixed my 816 when no one else could! Solid work for a reasonable price. Worth sending his way in my opinion.

I worked with one a few months ago. It had xlr audio inputs, but the camera we had was a beta version and had no functional audio circuitry. That was a fun surprise... And a 5 pin lemo TC input. I kept a tentacle on it at all times and never heard from post about TC being off. Fan was pretty quiet. Not Alexa quiet, but better than I expected considering it had a RED sensor.

B6 caps are in my top 5 L&D items. I keep a few extras on hand and bill whenever one goes missing.

Thanks guys! Interesting. I’ll check in with camera about tuning. Maybe that’s it. Every other film camera I’ve used had a blimp so I thought that was the problem. Also, I’m impressed with the amount of knowledge you guys have regarding the camera. It goes to show that people were a lot more knowledgeable about departments that were not their own back in the day. I know how to jam the camera, connect audio, and turn the fan down. That’s about it haha!

It’s the 16sr 2, which I thought wasn’t an MOS camera. I have no idea why the blimp was not part of the rental package. Don’t know where they got it from. I suppose RX could help but a mechanical noise that that would be s major PITA.

Hey everybody. Working on a production that is shooting on an Arri16mm camera. I asked before hand if they had a blimp for the camera and production told me “yes, we absolutely do.” Turns out the ‘Blimp’ is actually just 2 furni pads that they expected to put in front of the magazine in. Shockingly that didn’t do much! We have wrapped the camera in a couple coats which cut down the high frequency noise pretty well, but the lows and some of the mids are there. I have informed production that an actual blimp is necessary if they don’t want to loop everything and they calling rental houses to try and find one. In the meantime I was wondering if anyone had any tips on the reducing noise? Thanks!

The audioroot cup allows you to lock the battery in place. I have used it for 2 years now without issue. Highly recommend it.

A 416 will sound leaps and bounds better than an on camera rode mic. Still sounds fantastic by today’s standards IMO and used regularly by many professionals. If you find a deal on one I say go for it. But learning how to use the mic correctly is going to be what gets you better sound. Even a CMIT sounds like ass if it’s in the wrong place. RE: covering multiple people. In my experience, even a super cardioid with a wider pattern (641) doesn’t cover 2 people very well unless they are very close together.

Hey everybody! Love my 688/cl12 but hate having to adjust the tiny trim knob on the mixer instead of the board. I can do it but it’s not easy to ride on a really dynamic scene. Wondering if anyone has come up with a DIY way to put on a bigger knob or if there are other solutions that I haven’t thought of yet?

I use a 1.8k resistor in my 4061s and enjoy keeping my TX gain a bit lower. I do not notice any difference in sound.

Naked and cooking usually aren’t a good combo.