Jim Rillie

B5D will not fit. It is designed for the Schoeps Collette system. A hard ring at base of windscreen with a smaller diameter than the MKH50. Someone out there will have a solution.

That sounds like what Roderick is looking for.

I think the Super CMIT would go into the AES 42 TA3 input, with AES 42 phantom powered on. AFAIK that still leaves the 8 AES3 inputs on the Dsub available for other digital sources. No idea how that will affect your overall power consumption, though I am sure the Cantar is designed to handle it.

That’s why I am hoping someone from Lectrosonics can clarify. May be the same situation.

I’m pretty sure with Lectro and COS11 the phase should be reversed. I believe the SSM in COS11 setting is phase reversed. I did it manually with SM transmitters and 411A receivers, usually at the receiver output. Hopefully someone from Lectro can clarify this.

Jeremy's suggestion is good. I have a CMS9 Sanken now discontinued but very similar to the CMS7 but with fixed XY matrix built in. It sounds very good and is extremely quiet. Heavy at the front end but on a stand with shock mount is fine. Excellent for loud or quiet ambiences. Not great for booming, but who uses a stereo mic to follow dialogue. (A whole new can of worms there)

VP 88 when I tried it back in the 90s had a lot of self-noise. Not really useable for quiet ambiences.

Never had to supply TC to Arri Alexas, Minis, etc any other way than sync boxes on TC in 5p. Lemo.

Aha. Didn’t recognize SL2.

Without any RF distro? How so?

Not voodoo, Johnny. Just physics. Somehow a combiner works to allow this, but I still believe separate transmitting antennas distanced properly will give better results. just my 2 non-existent Canadian cents

Me too

This opinion about left and right hand wind helical is just an opinion, and not one held by all experts in my experience. PWS recommends both antennas to have the same wind for a diversity pair

My Audioroot Neo 96s charge OK in The Purple Aaton charger. People generally recommend only 1 large battery at a time in this charger, BTW.

At first I found the Audioroot Neos a bit quirky even in my audio root chargers, but they have settled down and charge well in my audio root chargers. now. I think they are still hesitant in my Aaton purple chargers, even when only loading one. Will check again when back to work Monday.

Reviving my older ASC Dakota cart with Festol drawers.

We haven’t had issues with theDSQD in 4 ch mode. I used it last year. This year my son has it, working well. I am using 2 822s in its place on my project and they work well too after the firmware update to solve crackling DPR signals.

The old ground-lift trick!

Mine is on the the messy side, but has every charger I need. The bagged ones unpacked are for v-lock batteries not used as often. Set up for transport at the moment until we start production in a week and a bit. A 1510 case plus the power supplies etc., is heavy, but the wheels help.

Having owned both I must agree. But wow, the AMI 48 was the ultimate in cool, not much headroom, though.

I wish it was always that simple!

That’s what I understand.

I did a series last year where the DP wanted to shoot at true 24FPS because of worries concerning potential LED flicker. Post wanted to work at 23.976. Julian Daboll at Technicolor is the guy I like to talk to regarding these issues. The solution decided on for sound is 24/48.048 on the recorder , then they pull down later to 23.976 and 48K. Time code on the recorder, slates, and sync boxes was 24fps It just depends on what they will do post at. If they will continue at a true 24, then we would have done 24/48 on sound.

Lots of zeros and ones.

I just started using it tomorrow