BrianBinning

DPA determined that the failure was covered under the warranty and said they'd be shipping another out within 24 hours. Good news.

I found out that DPA warranties their adapters for two years. I emailed them for an RMA and just sent mine in today. I'll let you know what I hear back.

Recently on set one of my lavs stopped working and I traced it to the Microdot to Lectro connector (part# is DAD3056). I'm not sure what happened exactly but the threads were pulled right off of the connector. The threads remained inside the Microdot connection but I was able to pull them out with needle nose pliers. You can see in the photo that the tip of the connector on the left is smooth where the threads came off and the intact connector on the right is still threaded. I'm curious if this has happened to anyone else. These babies are $100 bucks a piece so it's a bit of a loss but a necessary item. I noticed there is a knockoff of these adapters made by YPA. Anyone tried one of these?

One of my favorite episodes to date. Thanks Rene!

Thanks everyone for the advice. I ended up with a playback system on stage consisting of two Behringer 205D monitors (at an extremely low volume) and my KRK subwoofer. I played the music tracks via my iPhone which I had mounted to my bag. The audio out of the phone was split - one signal right back into my recorder for sync in post, and the other signal to a Sony wireless unit which was sent to the system on stage. The music had a 40Hz pulse with the beat so the dancers had something to lock to, and the music out of the Behringers was low enough that it was barely picked up by my mics while recording dialog in the bar. (The reason for this is because the musician actors had to look like they were miming the instrument and voice parts realistically.) It worked great except for an impromptu scene where the director had the main actors (2) dancing together in the crowd. I couldn't boom them and my omni lavs picked up a little too much bleed from the monitors on stage as they got closer.

I have a shoot coming up where there will be several scenes in a bar with actors miming instruments. I'll have a playback system on stage with them so the actors will be able to accurately 'play along' to their parts. For some of those scenes though, there will be some speaking parts with the principal actors who will be sitting at a table in the bar (a little ways away from the stage where the 'musicians' will be). My plan was to have the music playing at the lowest possible volume - just enough for the musicians to play along to but hopefully not loud enough for there to be any significant bleed into my boom mic. Of course, I'm trying to avoid phasing issues in post when we mix in the bar scene music. I'm on the newer end of location sound and haven't been in this scenario before. Curious if anyone has any advice or has something to add. Thanks.

Hi everyone. This is my first post to JW and I'm somewhat new to the location audio world. In December I'm doing my first feature film and the DP wants to use timecode which I've never used before. He is providing a Tentacle Sync and a Denecke Smart Slate which we'll be syncing to a SD 744T. The camera is an Alexa mini. I have a workflow in mind but I wanted to run it by some pros to see if I'm forgetting something. Make sure 744, slate and Tentacle are all using the same frame rate as the Alexa Use freerun mode on the 744 Using a 5 pin LEMO to 3.5mm TRS, jam the Tentacle to the 744 Attach the Tentacle to the Alexa mini using a 3.5mm TRS to the Alexa's 5 pin LEMO (and leave attached) Lastly, jam the slate to the 744 with the same 5 pin LEMO to 3.5mm but using a 3.5mm to 1/4" adapter (slate takes 1/4" I believe) Any thoughts or advice appreciated.