Peter Mega

Yeah I know! I have the roller case and the rugged cover too. The whole lot cost me an arm and a leg but it's worth it. One of the best bits of kit I own.

I have one of these with a wireless PTT hand mic for location and VOG. runs on NP1's. Has all the inputs and metering, battery levels etc. sounds great with plenty of grunt. This is the ultimate in my opinion. https://en-au.sennheiser.com/lsp-500-pro

Hi Rob Hope you're well mate you always have the most incredible stories to tell! That would have been the ride of a lifetime! The car is an absolute beast with an insane power to weight ratio. Funny you stumbled across it. Cheers mate Peter Mega

Excellent information from Dean at Lectrosonics. Outstanding customer support as usual. I have 23 x 411a so I'm not going to bother opening them all up! Would do my head in! Good to know though if it ever becomes a problem. Thanks Dean

I've heard the said beep in some 411a also. It's very faint but it's there. Seems to be some, not all 411a. I've never worried about it.

Just wondering how you guys are recording the ISO's on the 633, pre fade or post fade? Although I don't use my 633 that much (I tend to go for my 788's), I can't say I've heard this clipping. However, when I first noticed I couldn't get the desired level on 4 - 6, I got around it by recording the ISO's post fade. I can always find a moment to drop the channel in/out of the mix from the PFL screen on the type of shows I do. I understand this work flow may not work for some. Will be experimenting with my UCR411a and inputs 4 - 6 to see if I can recreate the clipping mentioned. What headphone level are you on when it clips?

Hi After years of searching/waiting for a portable VOG system that satisfied my needs, I finally found it last year and used it for my big show last series. Will tell in a moment. Prior to this, and during my waiting period, I was using one of my Fostex 6301B for the location intro and outro scenes. Volume wise It was okay because I could get it really close to set in amongst all the cameras and lighting stands etc. However it was annoying because I had to run XLR and power to it. Audio was fed to it by a console in the video village that was used for monitoring and I gave the director a cabled hand mic with a slide/fader type mute switch built in. The system worked well but was annoying for me. What I wanted for years was a system with a wireless hand mic and a self powered battery operated speaker that I could easily place anywhere and move quickly and easily when it came to jib wide shots etc. i looked at all the systems out there like Samson, Behringer, Mipro etc but I wasn't happy with the sound and quality plus the built in battery. I finally found the Sennheiser LSP500!!! After researching and talking to Sennheiser Australia, checking it out, I bought it along with a Sennheiser SKM 300 series hand mic with programmable button and the half rack receiver that slots into the LSP500. The unit it very well built, has superb sound, the hand mic has excellent range. It's loud enough to address very large groups of people outdoors and can be linked to more LSP500 speakers if required. The deal clencher for me was the battery system. It takes 2 NP1 batteries! I have 10 of these already with 2 chargers and it came with 2 so I don't have to worry about power, nor changing internal gel cells when they crap out . The NP1's are hot swappable and the unit also charges them when plugged into mains I set up the button on the hand mic as PTT. System works beautifully and is so easy to plonk down anywhere and pick up and move by it's built in handle. It has the ability to take 3 radio mic systems or to receive 2 and send to another LSP50. Im absolutely loving it. It saves me time in location and the director loves it. It's definitely one of the best bit of kit I own. It's not cheap by any means, especially compared to the Samson etc types but well worth it IMO. I highly recommend this system Cheers Megs

Thanks for the replies. Keep them coming please. Has anyone used the SRc with just whip antennas in a multipath situation ie lots of radio mics, big reality show style with 20-30 radio mics. How did they perform in this situation? SRb doesn't handle this very well, hoping the SRc does. Testing 1 SR against 1 411a both on the same frequency might perform similarly but doesn't indicate how it will go on a big show with many transmitters. There must be someone who's used them in this situation?

400 mode is native for your equipment. Tx and rx should be 400 mode for optimum audio. If you're using SM transmitters on talent and you use the remote control tweedle tones on talent mics, you should disable the remote control on your hop transmitters otherwise every time you make an adjustment on your talent tx, it will change your hops too, unless the faders are down on your mixer.

Yes you can use a single pair of antennas for more than 1 UMCWB. My rig is 16 x blk 26 411 in 4 x UMCWB. I use the ZFSC41 to split to the 4 racks. Since the photos in the thread below, I now use for each antenna (A and B ) ALP650 with Lectro ARG100 cable, BIAS T, then out of BIAS T to the ZFCS41, then split to all 4 UMCWB. The cables from the BIAS T to the ZFCS41 are all Lectro ARG2 with virtually no loss, they're so short. This set up has been absolutely amazing with astonishing range in some locations and more than enough in major cities. The ALP650 has the jumper inside on the setting that provides the most gain (can't remember which) to compensate for the loss in the 100 foot ARG100 cable. Ultra reliable and sounds superb. I currently have this system fed from my RF out of my Venue system of 3 racks with 16 blk 24 for a total of 32 running off a single pair of ALP650 with the ARG100 powered from the first venue. So that's antennas into venue, in/out of 2 more then into the ZFSC41 then into the 4 UMCWB. This too is working perfectly. So, try some ZFSC41 and split your pair of antennas 4 times ( I think there's one that splits only twice) if you want. Run them close to set with long cables (don't cheap out on the cables) and you should have great results with good antenna placement on a high stand and well coordinated frequencies. See pic in this thread below. The UMCWB system has done at least 200 flights in that case with no issues. To keep on topic, I'm interested in the SRc to compliment my block 24 and 26 for the bag style challenge days we do on my show which typically involves up to 30, sometimes more radio mics plus our links and IFB's. Would love to hear your findings. Cheers Peter

I too would like to know how the SRc is performing in the field. Mainly in a bag scenario with whip antennas. Are they really as good as a 411 regarding RF robustness in a multi radio mic situation. When I say multi, I mean like up to 30 radio mics, IFB's and camera links on big reality shows. 411's shine in this situation and previous SR models just cant cope in that situation. Love to hear people's experiences with the SRc please. Thanks

try a white cos11 poking out behind a button with a donut of joes sticky stuff around it to stick it to the back of the button and also create some isolation. A piece of sports tape behind the mic head shaft bit inside the shirt as another anchor. Third button down from the very top collar button is usually out of the close up and hides in plain view in wide shots. Also Try the Abetek button down mount. Abe has mounts for cos11 and a couple of other types IIRC. Agree with the beard rubbing on the shirt collar would not be helping the situation.

Possibly mic wiring. Check your COS11 wiring. It could be the 2 hot ones are wired for non servo bias inputs. Does the problem move with those particular mic heads? ie if you use the 2 hot ones in the other transmitters, do they run hot on those as well? If you're not using the mic heads in older transmitters that are non servo, the best wiring is SERVO ONLY wiring scheme. See Lectro website for diagrams.

I always use one of these for my headphones to minimise plugging in and out of the recorder/mixer. If the headphone jack breaks off, at least it's in this cable and not the device. Set up your kit with one of these and leave it there. I have one for each of my bags. http://www.sounddevices.com/products/accessories/audio-cables-and-interconnects/xl-14

Finally had the chance to use these mounts in the last couple of weeks. I've had great success using them in various shirts. Very quick and easy to mount with excellent results. Loving them!! Thanks Abe, great product. Regards Peter Mega

Your subject title says Line to mic attenuator which is easily purchased in the form of an inline barrel. Shure make a switchable version. However, what is confusing is your question asks about plugging a mic into a line level only input. For this you need a mic to line amplifier which can be a battery powered box. Shure also make one of these. Other options are available like running the mic through a small mixer like a SD302 for example, to bump the mic level signal up to line level, then into your line level only device.

I use it for a particular reality show mounted on the interior of a windscreen of a car with a suction mount and suspension for picking up dialogue of the driver and front passenger. It works perfectly. I am not there to set it up so it's very quick and easy for the other guys to set up. Not sure, never heard the D1 but I imagine it would be same or very similar.

FYi, Nagra also makes this type of recorder. I just bought s Sony PCM D100 to upgrade from my PCM D50 which will become my spare. The D100 is awesome! It's built very well, not plastic feel at all, like most others. Sounds excellent and now uses SD cards instead of the Duo Pro Sony card like the D50 does. I only use it for a specific set up and it's perfect for what I want from it If you only need 2 tracks, consider the D100. Doesn't have XLR inputs though.

Well something doesn't add up because they reblocked my colleague's TRX900AA and RX900S towards the end of last year but would not do mine the beginning of this year. Only a matter of about 3 months or less and suddenly they're not reblocking older gear.

Don't count on it. Zaxcom would not reblock my older TRX900AA and RX900S. I wanted this done because the above is in block 31 and now illegal. i wanted to change it to a lower block and have a system to use with my brand new, unopened RX200 which would've given me a tx and 2 x rx for those times I want to send a stereo mix to 2 destinations. Just sayin, don't rely on them for block changes to existing older gear. Speaking from experience and not in general.

Hi Quoting myself here because I want to add some features to the ones above for my suggestion to Lectro for the next generation IFB receiver which I hope will be a reality sooner rather than later. More preset channels like 50 would be good. (I said 10 above but the more the better). This is so we could tune in talent radio mics for discreet monitoring for the producers wearing the IFB receiver. The shows I do regularly have up to 30 radio mics and sometimes 10-12 sound recordists. The IFB receiver would be native 400 mode (can also do other modes, including current IFB mode) so could do the above and also receive a transmitter from each sound recordist who has a 400 mode tx in their bag transmitting a mix. The preset channels can be labeled with sound guys name or number so producer can select who ever they want to listen to along with the talent mic channels labeled with talent names for discreet monitoring of mics. The unused presets can be hidden so producer doesn't have to scroll through unused presets. Only the labeled presets are "visible" Easy to read screen on top. Lock out of deep menu settings so producers can't change settings and only have access to headphone volume and preset channel select. A way of programming multiple receivers with a cable from a smart phone app so can set up different shows/names/presets. Receiver would be as wide band as possibly, say block 19 to 26. Should be no bigger than current R1a. Battery could be AA, need to think more on this, ideas? A UM400a type clip, like the optional belt clip that's available for the current R1a. The current pouch doesn't last and the clip on the current pouch gets loose and eventually tears off the pouch. A UM400a type clip mounted on the receiver with a pouch around that would be better. Anything else anyone can think of, please add your thoughts To the fanatics at Lectro, I give you the IFB R2. Please make it soon!! Thanks Peter Mega

Thanks for the replies. I might try the one from eBay and avoid the Rii. Cheers

Found this http://m.ebay.com.au/itm/272190514463 anyone using/tried it with CL8/788T? i contacted the seller, he said it's available with USB type A connector to plug into CL8 the one pictured has type B for the 6 series. He also said he's sold a few with type A USB and had positive feedback curious to know for sure thanks

Thanks Nate. Thanks for the offer. Will see how it goes. Cheers

Hi can anyone confirm if the Rii mini X1 (model number RT MWK01) works with the CL8/788T. Alternatively, is the MWK06 the one to go for? Thanks Peter Mega