Tim Norris

We had to deploy my tent during a windy rainstorm in downtown Milwaukee on April 3. It was cold, windy, and very wet. Three of us had it in place in less than ten minutes. The other two held it down while I assembled the stands and pulled out the shot bags. I remembered to collect these images for you! It took several days for the tent and shot bags to dry out in my garage. Clamp Clamp on stand connected to tent leg. Must take care to attach clamp to tent leg to avoid crushing/crimping the leg. It is sometimes easiest to attach clamp to leg properly and raise stand into place below it. Once attached, the lower sections of the tent legs can be retracted if they are in the way. You can adjust the height of the tent with the C-Stands. Cheers, Tim

You get what you pay for? Cheers, Tim

Looking at the provided picture, the mic seems quite old and worn, not damaged by production. I might guess the damage is due to age, perhaps some lack of care, but mostly age. The plastic covering will continue to break off. I have had lavs damaged by production and was reimbursed by production. I would never consider an attempt to be reimbursed for this one. It's time for a new lav. Cheers, Tim

The real answer: Lav microphones are disposable items. Yours is damaged near the capsule. There is no way to repair it to be as usable as it was before it was damaged. If it was damaged close to the other end, you could salvage it with a new connector or heat shrink tube. The insulation will continue to break off. At best, it will be a last resort back-up. Cheers, Tim

Not all boom poles are created equal. I recall experiencing intermittent electrical interference with my first internal coiled cable Vdb pole, and always at one particular spot on The Magnificent Mile in Chicago, above an electrical vault. In January 2000, covering the Iowa Caucus, I bought my first internal coiled cable K-Tek pole to replace the Vdb pole, mostly because it was much longer and candidate Bush didn't like to get close to the press. I first noticed a reduction in all handling noise as well as a reduction in wind noise, which I had attributed to the wind protection on my Schoeps mic. You will likely be pleased with a top of the line K-tek pole. Cheers, Tim

I carry C-Stands and Cardellini clamps to secure the tent, weighing each stand down with plenty of shot bags, depending on the wind. This is usually for rain. With C-Stands attached to each leg, the tent lasts longer, and it is simple to raise or lower the tent by adjusting the stands. Those 20" shorty risers come in handy for this. Setup is fairly quick and easier than hanging weight on the tent. I mount golf umbrellas to C-Stands using the same Cardellini clamps and shot bags. Easy to move around as the sun moves. I would love to have a large rectangular umbrella I could mount to my cart, but it seems like more work, could be less stable, and may be more difficult to adjust as the sun moves. Cheers, Tim

After years of use, I decommissioned my Ultra Sync stuff a year ago. It seems they are not supported in the US, either. Cheers, Tim

If you had two compatible single freq sets, you could send your audio signal to both TX... Many years ago, when 187s and 190s were fairly new, on complicated Live Shots for network news I would use one 'Lectro TX to send an IFB signal to multiple wide-band radio transceiver scanners which could receive my 'Lectro TX signal. I had three of these wide-band transceivers plus the one 'Lectro RX in the frequency matching the TX. It worked OK at a time when real wireless IFB was not really available. Before that, I used multiple 187 sets, on different frequencies, sending the same IFB audio signal to the multiple TX. Each talent had a receiver with an earpiece coming from the headphone jack, in addition to their microphone bodypack on yet another different compatible frequency. The wide-band transceivers offered an acceptable audio signal in a smaller package than the 187/190 receiver and an easier TX setup. Neither fix was nearly as elegant as real wireless IFB or a modern IEM system, but it worked. Cheers, Tim

Perhaps it's the microphone? Cheers, Tim

I had an RM once and lost it. I discovered I preferred the iPhone app and did not replace it. The app may be a good option if it's an option for you. It doesn't need to be your primary phone, nor even operate as a phone. I haven't used it for years, but it sure was cool when the RM was new! Cheers, Tim

I added an SL6 to my 688 years ago. Because I got rid of audio and power cables to RX and no longer needed a BDS, my bag lost about half a pound. I switched to a Scorpio with SL2 a couple years ago. Better in all respects except for the loss of a couple power outputs on the SL6. The best part was getting rid of the cables. For that, I prefer the SL2/8 series combo. The Dashboard was a nice addition to my MixPre 10 rig, holding a DSR and BDS firmly in place in a small bag. Cheers, Tim

Not having your checkbook is quite a poor excuse, a dead holdover from the '80s. These days, any person or business can pay through their phone. The bank writes the check, pays the postage, and you don't even need to find a mailbox, all for free! As treasurer of small a non-profit org, I often receive a text or email invoice and pay it immediately while on a lunch break or from my hotel room in the evening. My non-profit company checks are always in my pocket... A speedy payment is essential for any business. Cheers, Tim

Huh... the C-Stand is a modified tripod and is what I use. I carry four detachable base stands with standard risers and three with 20" risers, all in black, as well as four 15# and six 25# shot bags, arms, short arms and gobo heads. Super easy to pack and set up. They are more stable than even a large heavy duty light stand because they are easier to stabilize with shot bags. I can't imagine using anything else. Let us know what you settle on! Cheers, Tim

Doing mostly News, I have been using the Schoeps MK41 capsule, nearly exclusively, since 1989 or so. I like the low profile and weight, especially with the newer CMC-1. It's worked for me from quiet indoor interviews to noisy street scenes and full blown hurricanes using the Schoeps W20R1 basket with the fur covering for wind protection. I have become accustomed to the way it sounds... Cheers, Tim

Many years ago, students at a BIG10 football game referred to mine as a 'possum on a stick. I think this predated Dead Cat. Cheers, Tim

It depends on what you will be doing, your commitment to doing it and your cash flow. All I do is News. We work fast. After 35 years, starting back when there were no rentals for audio gear in News... I have always purchased the best new gear. There was always some cash available to do it and an inner need to satisfy myself. My current back up "disposable" bag is a MixPre 10ll with a DSR2, two digital transmitters and a Schoeps CMC1-MK41 on a K-Tek boom. I will probably add a 'Lectro Dipole antenna pair before election day to extend the RF range a bit. It is all powered through a pair of IDX NP-9X batteries to a cute Deity SPD-1. Oh, and Deity TimeCode as well, one for each bag and 3 spares for cameras. My spare 'Lectro DCHT is mounted in the bag for camera hops to the DCHR. Sometimes I think I should have installed a DSR4 with four transmitters, but for running in hurricanes or protests, I don't want the extra weight nor the extra loss of equipment dollars should some small watercraft capsize while i am working in it. The full kit is a Scorpio, SL2, DSR4, SRC 941 plus all the above extras and more. It weighs about 35 pounds and I can still work with it strapped to my chest while booming for a couple hours. If 'Lectrosnics came out with a slot ready digital system that covered all frequencies and worked with my current bags, I would probably replace my current systems right away, even with only a few working years left. I may be on the foolish and extreme side... Upgrading from perfectly fine gear to newer gear gives you better resale value on the old stuff... someone else is always needs to save money buying used slightly older technology. Is one way better? It depends, I suppose. Good luck on your production audio journey! Cheers, Tim

I can't, because I do not do it myself. I believe wiring instructions come with all 'Lectro transmitters. Cheers, Tim

I do this (have it done for me) but with a TA5 for 'Lectro. Cheers, Tim

I've been using the Scorpio/SL2 combo for a couple years... with a DSR4 and an SRC in 941. No problems at all since 'Lectro and SD updated the firmware to accommodate the SL2. I have not used the SL2 interface for the receivers yet but perhaps one day I will... I'm stuck in an old workflow. When I adopted the SL6 with an SD 688, the greatest change was losing all of the cables, which also reduced the weight of my bag by 8 ounces. I will never go back. Cheers, Tim

I've been using Sony 77s for a while. I started out with Sonotrims, moved to the Countryman B6 for a few years (nice for low profile or hiding, indoors) and then went with the 77s while working mostly with CBS. I still have the Countryman and a couple rarely used Sankens. The Sony has always been easier for me to make windproof, but that game seems to have changed with the recent BubbleBee products. The Sankens sound similar but sit too high using my favorite lapel clips (Sennheiser or Shure). I consider lavs to be somewhat disposable. I want them all to be the same, all the time. I am conscious of cost and speed of deployment. Like others have stated, I have never had push back on my choice of lavs. Any of my lavs wired for 'Lectro can be instantly be hardwired with a small adapter and an XLR cable using phantom power from my mixer. This comes in handy when I encounter that RF emergency when all networks and everyone else is at the same location. This is not the brand I have, but it should work in the same way. It is possible to make your own from a hardwired Sony 77 by adding TA5 connectors at appropriate places in the cable between the mic and power supply. I gave a couple of those another News Mixer because they were not as elegant or as easy to carry in a pouch in my bag, but they work. They may have been deployed at the RNC last week. Cheers, Tim

I have been doing this for 30 years or so... running dual NP-1 type batteries and hot swapping using many power distro devices from the modern AudioRoot, BDS in several different iterations and even my first couple of hand crafted Peter Engh rigs using various battery pairs from old Sony NiCad to IDX NP-9X. I have never had problems unless I allow the batteries to get too low to power the bag. I generally swap both batteries at no lower than 14.1v. Because the batteries drain equally, I figure they should be swapped together. I have enough battery pairs to run for several days without charging. I do appreciate the Scorpio mixer with its on-board batteries. The SL6 was nice, too. Yes, I always run the on board batteries with the dual NP-1 cups. I hot swap only when I must... Cheers, Tim

I like a tight bag, the smallest one I can get. I've been using an Orca OR-32, first with a 688/SL6 and now with a Scorpio/SL2. It has served me well for the past six or so years. The OR-332 looks interesting but is far too large for me. Cheers, Tim

For Hops I am really happy with the 'Lectrosonics DCHT / DCHR combination. The M2Ra works well as a less expensive, more producer friendly IEM. In a pinch, it works as an extra Hops receiver. Cheers, Tim

... you get a second EW DP to receive the signal you are already sending to the camera. A good and proper Cam Hops Kit should have a TX with Multiple RX to be used for multiple cameras, or in your case, as listening devices (IEM) for producers. Cheers, Tim

A simple solution is a second G3 receiver, as jonG writes. A better solution would be the 'Lectrosonics DCHT/DCHR combination for dedicated hops. - A second G3 receiver will cost you less right away. I have a MixPre 10 ll which I seldom unless I need to break off from a complicated setup quickly, ride in a tippy boat or chase rioters, and only when a boom and two wires will suffice. -The TA3 connections are used for a hard wire connection to a camera, for emergency live broadcasts only. -The 1/8" stereo out is used to feed the DCHT via stereo 1/8" - TA6. Cheers, Tim