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    United Kingdom
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    Sound recordist for mainly Documentary, Reality.
    Boom Operator in Soap, Drama
  • Interested in Sound for Picture

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  1. Is there absolutely no option to power the Lmb externally?
  2. Very interesting, great solution when you don't need to customise your IEM sends on those jobs. For bag use i could just chuck any old G3 in the return slot. Expensive yes. Never used mode 6, good to know its solid with cheaper sennheiser iem packs. Thats what i call a 'custom' cable... a dual mono 3.5mm to TA5F with line level attenuation. Volume adjustment on the SMA would be perfect for getting the levels just right for different cameras. The only problem i see is the single AA having to be changed all the time, unless you split the power from your camera RX. Main question is Is the sma is transmitting miles away from your RX Freqs and no issues there being so close together?
  3. Yeh it gives confidence for sure, and range isn’t a big deal, its just nice flicking the return switch and hearing something there. These seem perfect for the job, The XSWD is small and discrete, cameras won’t know its there. Ideally its this or the AVX. Rode and deity are quite bulky. The only thing is the input... no idea how the XSW D would handle line level/headphone input. The AVX says it takes line level but no info on the xswd. I’ll do some more digging! Cheers
  4. I’ve seen zaxcoms IFB return feature, unfortunately I haven’t invested in any of their equipment and Im running all lectrosonics stuff. Yeh definitely might be hard to determine a fault source if range/frequencies become an issue.. and the whole thing is really just another distraction! however i’d rather have the link for reference/reassurance and to possibly identify a link frequency issue early on rather than later.
  5. Hello all, (First time post sorry it this is covered already) I want to know what people are using to wirelessly monitor the “tape“ return from camera. Stereo/mono? Cheap or expensive? Brands? How do you do it? Working on run and gun shows generally and the productions almost always use the hot mix im sending to camera for broadcast. Used kits on large reality/documentary productions before with the IFB transmitter attached to the camera and have had the option to monitor my return feed. This was great, however i had no individual control over the IFB send, which was a real problem sometimes. My personal kit I have no option currently and i want the option to hear whats going to tape (yes despite having the back up of a multitrack recorder). I want to hear whats going to air, check my Links to camera are working and in range and hear what compression/artefacts the camera is doing to my mix, especially since they are using it in the final mix. Personally id prefer a stereo tx thats miles away from my receiver frequency on a low tx power. Summed Mono would be OK. Thanks
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