Michael Panfeld

I'd be very interested to hear more about the current digital pre-amp, as well as the reworked version.

Might be interesting to pair this with the Soundfield SPS200 as a very portable surround sound capture system. That is, if the mic-pres are good. If the pres are average, I wonder if the Oade Bros will sell this unit with improved mic-pres, like they do with other portable recorders.

Every voice sounds different in a particular mic, so although I could provide a list of mics, you really need to try them out. That said, common VO mics are in that price range are: EV RE20 Shure SM7B Rode NT1A (consider modding by Michael Joly for extra $$) CAD E100s (not the E100 or other models) MXL VO1-A "Harlan Hogan" VO Mic As far as a portable sound booth, instead of lugging 4 c-stands around: buy a Matthews 4 x 4 gel frame for under $100. Clip on 4 sound blankets to form "walls" Toss one over the top. Mount that in a nice HD stand...perhaps something with a wider base than a C-stand

I am in Washington DC. How convenient. Thanks

Lectro's web site used to have a separate comparison page for its transmitters and receivers (including its "Legacy" products). A very useful compilation of features, power levels, capabilities, etc in 1-page. The web site no longer has this. Did anybody happen to download this or know if it is reposted somewhere? Thanks

MixPre-D Introduced at NAB 2011 Sound Devices is setting a new standard for compact, high-performance portable audio mixers with the introduction of its newest MixPre-D at NAB. The MixPre-D is designed for any production application where capturing great sound is important, but size and weight are a concern. The introduction of MixPre-D continues Sound Devices’ heritage of studio-quality portable mixers which began with the original MixPre. At the heart of the new MixPre-D are two studio-grade mic/line switchable inputs with limiters, high-pass filters and selectable phantom power. The MixPre-D offers numerous analog output options including mic/line switchable balanced XLR, dedicated consumer mic-level on a locking TA3 connector (designed specifically for DSLR-type inputs) and an aux-level output on 3.5 mm connection. The "D" signifies the infusion of digital technology into the product. The MixPre-D includes digital outputs include balanced AES3 on XLR and USB audio streaming for Mac OS, Windows or Linux computers. MixPre-D includes many additional features that help make it a perfect complement to larger mixers, such as the 302 and 552 mixers. These include: MS stereo matrix, tone oscillator, internal slate microphone, return monitoring of both analog and USB audio, high-gain headphone output and two-AA battery or external 10-18 VDC powering. Download the MixPre-D Fact Sheet (1.2 MB PDF). Visit the product page Watch a 90 second video preview If you are attending NAB, make certain to stop by our exhibit to take a look at the all-new MixPre-D in person mixpre-d.bmp

I can't speak for all of the options, but if you do go with an Oktava, send it to Michael Joly and have him mod it (or buy it from him already modded). http://www.oktavamod.com/ The upgrade is definitely worth the low cost. There are also some highly regarded mics from Busman. http://www.busmanaudio.com/ He also mods certain existing gear. That said, Scheops Scheops Schoeps! Buy used, but it will be more than $600. As Mallory said, buy once, cry once.

any other news leaks? Can anybody comment on the size? Is this recorder baggable, or will it only live on a cart?

Hi: accumulating too many bits and pieces for the lav mics and want to keep them organized. I'd like to hear about any nice small cases and where to find them. Cheers

Thanks Alan. What can I do to get it to loosen up?

I worked with one in December. Used a 744 only, no camera sound. Can tell you that syncing timecode using the standard SD lemo to lemo cable works just fine. (I add that because 3 months ago I called SD and they couldn't tell me). Cheers

Hi: So Rycote makes the baby ball gag in 20 and 22mm versions. My Schoeps is 21mm - of course. I have purchased both sizes and neither seems to be a good fit. The 22 is too loose and the 20 is very tight. So tight that it takes a long time to remove the Schoeps and, there is a fear that that much force will eventually break something. Apart from trying Astroglide, what works for you? Or will the 20mm eventually loosen up as it gets worked. Thanks

I think its obvious to say that being able to control 100% of the 788's functions, including setting levels, from an Ipad would be a great asset. Combining with a slate app is also a great idea. Unfortunately, it seems like I will need at least three Ipds now: one for the 788, one to monitor the wireless status, and one to monitor the EPIC's encrpted wifi video signal out. Better buy stock in Apple.

Thanks, yes, the DP is at Arri NY picking it up and he just confirmed that there is no sound as of yet. I also called Sound Devices who said that have no info yet on the Alexa and cannot confirm anything, but I just compared the pin outs on both devices and they are the same. So it looks like the SD 5-pin Lemo to 5-pin Lemo cable should work. Will jam TC anyways, but thanks for the advice.

Hi: I was just hired for a shoot this weekend using the Arri Alexa. They plan on shooting at 23.976. I am recording on my SD 744T, I will also be using a Denecke TS3 slate (overkill). I have never worked with this camera. My question is what are the best settings on both the camera and the recorder to synch the TC? Is one better at being the Master clock, I saw some technical discussion on another board that suggests an issue with drop frame rates with the Alexa... Any advice would be helpful. Thanks

Hi: I am fairly new to this, but am starting to get regular paying gigs. I was wondering what the normal industry standards are for contracts, payment, and deliverables? For example, is a written contract normal or just a verbal agreement? Do you normally get paid cash or check and is that at the end of the day or net 30 days from invoicing (or some other arrangement)? Do you deliver the sound files at the end of the day, end of shoot, after getting paid, etc...? Thanks for your help. Mike

Checked out the latest stats. It records in AVCHD at 24mbs max. For higher quality recording, you can buy the 10 bit 4:2:2 Intra AVC recorder (AG-HPG20) at a whopping $4,000. So, while the micro 4/3rds sensor and interchangeable lenses are a great feature, I'm going to be $10K into a system that records 1080P at 4:2:2. If Panny brought that $10K system in at under $3,000, then I'd say that would be a nice option. One that I would be very interested in. But I'd rather wait a few more months and spend that same $10K on a more futureproof S35 Scarlet with 5K resolution, 120 FPS overcranking, and super high dynamic range (that will be upgradeable). Still no specs on the audio section other than it has two XLR inputs.

I remember an interview with the Panny rep at NAB a few months ago. Smiled and chatted away about all the features, but got stumped and frowned when asked about the recording format and rate. I believe that it is priced at $6K USD and will use a long GOP codec. Not much has been noted about the audio section on the cam. I'll pass, spend a bit more, and wait to get the RED Scarlet S35.

Hmmm. Thanks so far. I found one source that says the Gold Line tone generator is -48 db and another that says it is -44 sb, while the manufacturer's site says -32.5 db. Grrh. So I suppose I could plug this into each one of the Cooper's XLRs, set to Phantom, and then set the pots to unity and then set the 744Ts gain until its meters matched to whatever the tone plug's level really is. However, at that low of a setting, how confident should I be with the 744T's LED lights? At $40, its cheap, but was hoping for a less complicated/faster way. Keep it coming. Thanks

Hi: My bag setup is this: Cooper CS104 with direct out mod (set to post fader) to SD 744T. The problem is this, the direct out option on the Cooper taps the signal before the Cooper's tone generator. So, I am perplexed as to how I can set unity gain on the SD 744T. I cann plug the Cooper's main bus output to Channels 1 and 2 on the 744T and use the tone generator, but that leaves Channels 3 & 4 unaccounted for. It also assumes that the main outputs are at the same level as the direct outs, which I am dubious of relying upon. Any suggestions? Thanks

In my bag, I use a Cooper CS104 with the direct-out mod feeding into a 744T. I also use the Cooper's outs for both a wireless camera hop and feeding a H4N with a backup mix. This covers most dialog/documentary work and costs about 5K used. Cooper is a bit heavy compared to the 442, but IMHO beats the 442 sonically. Plus you can switch the direct out between pre-fade and post-fade. As others have said, wireless will be a bear and I would not advise an investment in new gear until the FCC issues more clarification on its just announced policies. It appears that the 2 channels that are reserved in each market will not be the same channels across the country. This means renting in the local market may be the only economical choice. Also, the FCC is still considering banning transmitters above 50mw.

Thanks for all of your suggestions. I used a Audio Ltd 2020 to transmit the mix from my Cooper to the camera, while recording the ISOTRACKs on my 744T. That said, wow, reality TV shows are a real pain compared to narrative stuff. Complete chaos. Sound was fine once lav'd up. I really feel for the shooters: constantly moving, shifting, chasing to get dramatic moments.

Again, good idea on sending both the ISOs and the video/audio files. They do want ambient, as the "actors" are going to be interacting with customers at a trunk sale (who are not mic'd). I was thinking about mounting a 641 on each camera and running that into one camera input channel and then running the 4:1 lav mix on the other camera input channel (using a G2 or the like as you suggested). I have one SD MP-1 pre-amp. Guess I'll need another for camera 2. Unless you guys have a better suggestion.

Thanks Phil. yeah, I agree,. However, they are going to edit the footage into a 2-3 min sizzle tape, to use to pitch the show. Its not the actual show. Good idea about using it merely as a reference and mailing the ISOs. That gives them some options.

Hi: I am a newbie to both this forum and to sound mixing. I've gone from limited knowledge and equipment at the start of this year to $35K in sound gear and 2 paid gigs so far this summer. I have been hired to shoot some footage to create a "sizzle tape" for an LA company pitching reality TV shows. Its this coming weekend. 2-days. They are less concerned with the audio/video quality than with how the subjects behave on camera. Will be shot wityh both a Canon 5D and a 7D. They want 4 "actors" lav'd plus ambient sound. They do not need iso tracks and timecode is irrelevant. They want it simple, so I will be mixing 4 lavs + 1 boom down to 2 channels. I have 2 Cooper CS104s (1 has direct out mod), 4 wireless setups with COS11 lavs (2 Lectro, 2 Audio Ltd), a 744T, a H4N, Schoeps 641s and CMIT5Us. I'd like to get the sound sent wirelessly from the Cooper(s) to the two Canon cameras, rather than be tethered. This is new to me. What workflow and gear would you recommend? Ganging the 2 Coopers to get 5 into 2. Ganging to get 5 into 1, double it with 1 channel having a lower gain to address clipping issues. How to get from mixer to camera wirelessly? Route through 744T as a backup? Any suggestions will be appreciated. Thanks BTW, I live down the street from Vark Audio (yes I am lucky), so buying/renting special cables/gear is not an issue.