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Joe A

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    retired, all manner of audio and video and stills
  • Interested in Sound for Picture
  1. For compact, lightweight, high sensitivity, RF and high humidity conditions, consider first the Sennheiser MKH-8000 mics, and use Sennheiser MZL cables and connection. Rycote makes a series with MZL connectors (see B&H - sennheiser mzl | B&H Photo Video (bhphotovideo.com). I cannot locate the posting at the moment but have seen a pair of MKH-80xx mics with MZL connections custom-fitted inside a gag ball windshield. The Rode mics are good performers as well, although much larger and heavier when outfitted.
  2. FYI - The 12" Sound Devices 3.5mm adapter extension cable was mentioned above. I use a similar 6" adapter cable on every 3.5mm jack: laptops, recorder, .... This adapter fits almost flush to the surface, and the female socket might be routed and attached to the unit to face outward: - Amazon.com: Seadream 2PACK 6 inch 3-Pole 3.5mm Male Right Angle to 3.5mm Female Stereo Audio Cable Headset Extension Cable Replacement for Beats Dr. Dre Studio iPhone,M to F Audio Cable: Electronics.
  3. drpro: "One I have wanted to try is the Line Audio CM4" I have a CM4 currently connected thru a Golden Age 73 preamp to my laptop for Zoom sessions. The mount is a 15" tall desktop stand with a 30" arm, and the mic is held on the arm with a Line Audio CMEH shock mount purchased with the mics, distance ~12-18" from my mouth. I've used this mic previously paired with a second CM4 to record acoustic guitar practice (not played by me!). Both applications sound clear and present recorded with Audacity or into a Zoom F8n. I have a less used pair of OM1 omni mics. The vendor would select mic pairs to closely match. Total for 4 mics was $590, with CMEH mounts, local tax, and shipping from the EU.
  4. "4+ units"?? I assume a F8 timecode Master. Use a BNC-to-TRS cable from the F8/F8n BNC-timecode-OUT port to the MP6II Aux/Mic TRS input jack. One cable, BNC-to-TRS. Set the F8 timecode menu to "Int Free Run". It appears the MP6II would also serve as timecode Master, from the Stereo Out port. Use the same BNC-to-TRS cable to the F8's BNC-timecode-IN port, and set the F8 timecode menu to "Ext". You'll have to refer to the MP6II operation guide for any specific menu settings.
  5. As an alternate to the immediate xlr connection, have you investigated using Sennheiser MZL cables? The 80xx capsule screws onto the MZL connector end of the cable and the the xlr half screws onto the remote end of the cable. Rycote even makes a ConnBox support, and blimps, with built-in MZL connector(s). Here's a B&H link - sennheiser mzl | B&H Photo Video.
  6. Under that Gotham site link, look under the "Extras" tab. Under "Radio Frequency Scan Repository" listing you will find a global/world interactive map. Expand on the NYC area. Here's a link to frequencies for the Broadway & Canal St. area - Radio Frequency Activity at Broadway & Canal St. (gothamscans.com). These are user-submitted scans. You can at least interpolate on the legal white areas for a preview of frequncies that may be available when you talk with them. (Look up in the 900 MHz blocks as well.) If you are familiar with the RF Explorer products, I find those very good for quick ad-hoc analysis and verification.
  7. Hollyland's systems have received a lot of reviews and press during the past half year from retailers, such as B&H, YouTube video reviews, and many of the camera/photography/cinema sites, including DPReview and Blackmagic forums.
  8. Not an answer to your question or more discrete, however, give this configuration a thought. (from a recent short SOS forum post - SOS Forum • Rule of thumb for a mid mic in an M/S array? (soundonsound.com)) Re: Rule of thumb for a mid mic in an M/S array? by Hugh Robjohns » Tue Dec 08, 2020 5:15 pm Instead of having the sides mic facing horizontally left-right, have it facing vertically up-down, or anywhere in between that sounds acceptable. Even with the array oriented vertically, you'll still capture a sense of scale and movement, but it won't have all the bright bits on the right and the wooly bits on the left. Hugh Robjohns Moderator Posts: 29186 Joined: Thu Jul 24, 2003 7:00 pm Location: Worcestershire, UK Technical Editor, Sound On Sound
  9. I read that as: Auto Gain ranges from -12 to +12 dB, and greater depending on the UTX device (see below), Normal allows a specific setting of one value between -12 to +12 dB in 3dB steps. I don't know if the target gain with Auto is 9db or 0dB depending on the UTX device, and if the Normal setting operates to hit that target, but that is my closest logic. There is a greater range of actual attenuation possible with the various UTX devices: 0dB to 21dB with the M40, 0dB to 27 dB with the B40, and 0dB to 48dB with the P40. A call to tech services is needed for further detail.
  10. There is a Low Cut Filter setting in the transmitter menu with settings - (from operating manual) Setting the low-cut filter (LCF) You can set the low-cut filter to reduce noise caused by wind. You can set the cutoff frequency to OFF/LOW/MID/ HIGH. OFF: No filtering LOW: 100 Hz cutoff frequency MID: 150 Hz cutoff frequency HIGH: 200 Hz cutoff frequency You can download a PDF copy of the manual at - utx-b40 Manuals - Sony Pro
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