RunAndGun

I run my TS-C in 'Auto'. Never had a problem when jamming from a Tentacle.

The two cameras that I use the most, the F55 and Amira are both 24 bit/48Khz. Even the much less expensive, but insanely popular Fs7 series cameras are 24/48. Although the original, and also insanely popular, C300 was 16/24. I’d say most modern, “real cameras” are all 24/48(some are even AES compatible) and no one should really have a problem using their audio tracks, especially at line level from the mixer and you don’t exceed the number of camera audio tracks that you can independently feed independent sources to from the mixer(i.e: you’re basically iso tracking in the camera, too, which is easy enough on things like interviews).

Well of course they are, because I just bought an 822 last month. Lol.

I don’t recall if I’ve ever been asked (or told) specifically, but we’ve always handed over 48k/24bit files since I got my 664 back in ~2012.

My COS-11's that are wired for servo bias have gold serial number bands. I also have two "universal" wired 11's and they have silver serial number bands.

I can attest to how horrible a mic with the wrong wiring can sound. When Lectro first implemented servo bias Tx's, not a lot of us knew about the difference in wiring required for the mic's. I actually sent back an entire SRb system and had it swapped out for a brand new one, only to have it sound just as bad. Then my dealer, obviously not wanting to swap out another system, contacted Lectro and found out the lav's needed to be wired differently. Problem solved.

I was debating picking up another SRc and selling/trading my oldest SR/SRb system, because of the deal that Lectro is offering on the SRc’s, but ultimately decided to go with an 822. To me, it made the most sense, even if financially it is a much bigger commitment. Starting with buying the 822, it allows me to “migrate” into a fully digital system, while being completely backward compatible with every single one of my existing digital hybrid transmitters(18), save the two block 26 UM400a’s that are for one of my camera hop systems. It’s pretty much compatible with everything except IFB mode. The audio guy I was working with toward the end of last week uses the DCH system, so I threw the 822 on my cam the night before(so I could rig it how I wanted it) and just switched to that mode and tuned into the freq. the next day on the shoot. I haven’t done a head-to-head wireless performance comparison(I’m not the guy that you need doing it, anyway), but most people give the 822 the performance advantage. I just worked with a guy early last week that ordered two 822’s, because he doesn’t like his SRc’s(said he has performance issues with them). But a lot of that can come down to the specific environment you’re in regularly. Knock-on-wood, my SRc has been solid. I currently have the 822 paired with my “A” set that consists of a block 22 SRb, two SMQV high-power belt packs and two UH400A plug-ons(obviously I pulled the SRb). I plan on getting two DBSMD belt packs in the next month or two and hopefully two DPR plug-ons by the end of the year. Then I plan on selling off my oldest block 22 SR set. And at some point, I’ll probably start over with that same process of swapping out another set. The only real negatives I have with the 822, so far, are the size vs. an SR chassis and the screen is a b!tch to see/read.

Besides 'Vector Diversity', the 822 also can do true diversity with multiple transmitters.

I think a big part of the issue with the current mixpre series, is that they are designed primarily as recorders and not to feed professional cameras or other devices. I think they could make good "Oh ***t" back-ups, but they're not your primary, especially for feeding cameras.

+17 on the camera, for the F55. It's all menu driven and doesn't have physical dials. I think there is "room for error" in the camera/mixer/cable system. I've seen the same camera set to different levels when used with the same model mixer(but not the same copy) and even same model cameras set to different levels when being fed from a single mixer. And from my experience, mixer umbilical cables and ends can sometimes play a roll in the equation, too.

I was just on a shoot last week and the camera was an Fx6 and it was the same thing… Sent tone at line level to the cam from my 664 and had the cam pots turned all the way to 10(maybe they should go to 11…) and still couldn’t get enough level to “zero out”. Saw the reference level adjustment in the menu and that “worked”, but I’ve never seen that before on a cam when using line level, only mic. With my F55, it’s at +17(out of +99) to “zero out” and my VariCam’s are between 1/2 to 3/4 up on their pots. My C300, I think, is pretty much right in the middle at 5. So, it’s definitely the Sony(s) doing something.

Thanks y'all. That's kind of what I was thinking and banking on, kfairlee. I'm going to make it my 'A' set and pair it with my SMQV beltpacks and UH 400A plug-ons. I figure if we're really in the RF weeds, the SMQV's(22) running at 250mW and the 822 will be pretty rock solid or at least give us a really good fighting chance. But would also be easy enough to use with my A1 SMDWB's if the block is too crowded. Yeah, seems like an "easy" way to upgrade, since you can easily mix 'n match with existing gear and not have to plunk down $10K(in my case since I get two belt packs and two plug-ons) all at once to get a fully operational set. As long as DBSMD & DPR transmitters are available, I'm hoping to have a fully digital system in place by the end of the year. Or at the least, have a set of DBSMD's added.

So, I decided a few days ago to start "migrating"/adding the fully digital systems in with my existing digital hybrid systems(8x Rx's & 20 Tx's), starting with an 822, because it works with pretty much any Tx Lectro has made in the last 15+ years. My reasoning being that I get the receiver and use it with a set of existing hybrid Tx's(sliding out one of the SRb's) and I can work the fully digital Tx's in until I have a full set of fully digital wireless(receiver, two belt packs and two plug-on's, in my case) and then sell-off the digital hybrid set to help off-set the cost of the new gear. So, my question is, are there any of y'all out there that have bought an 822 and using it with just digital hybrid Tx's (at least just) initially or mixing hybrid and fully digital Tx's with it and seeing better results than with SRb/SRc Rx's or even 411A's? I watched the YouTube video from Michael Wynne, and he seems to really like the 822. But there doesn't seem to be a lot of real world info out there on it, yet, besides from Lectro and some of the dealers. I'm not looking for reassurance on my purchase, just trying to see what kind of results folks are getting in the real world.

Originally I had Sony 7509’s(a big part of it was I preferred the physical deign over the 7506)(still have one or two pair), then one of my guys turned me on to Ultrasone’s about eight years ago and the PRO 900’s* have been the ‘A’ set, ever since. *I got them for about half of what they are selling for, now.

In almost 25 years, I honestly don’t believe I can think of a time we genlocked field cameras for multi-cam shoots. Even in the Beta days. For any type of live stuff, the cameras(when using ENG style cams) are just hooked up with SDI going through frame stores/frame syncs. These days, outside of old-dogs(like me) and engineers, most people probably wouldn’t know what you were even talking about if you asked about it. Today, SOP is Tentacles on everything and/or slate or even just a hand clap. No complaints. I don’t think I’m exaggerating too much when I say that I think the last time I remember of a complaint about sync, was back when we were shooting Beta and someone’s camera was in NDF instead of DF.

Dig the green. That’s what I wanted, but the yellow was dirt cheap on Amazon, as it was actually fitted with a custom foam cut-out for a Ronin, and I’m guessing a poor seller, since it was way cheaper than an empty case. Also, I’m probably gonna “borrow” your idea of Velcro in the lid to hang Tentacles while they’re charging.

Maybe keep an eye out on eBay. I needed a new case for one of my Lectro SMQV's recently and found someone selling five for less than half the price of one brand new($9.95 vs $23.99). They had a numbering system marked on them in paint pen, but still had the foam inside each individual case to keep its shape and they looked fine, otherwise. A black Sharpie pretty much took care of the markings and now I have a bunch of spares. Amazon also has all kinds of little pouches like that, so it may be worth going down that rabbit hole if you have some time to kill.

First time I saw it a couple of years ago, I thought it was a pretty good idea, but I'm guessing it must not have been a good seller, as its been discontinued.

Appreciate the recommendation. I have something similar(maybe even stronger?), UNI-SOLVE adhesive remover, which is made by Smith & Nephew, as well(I have a very small, wearable, disposable medical device that pretty much requires this to remove it). Soaked it down and let it sit for a while and scrubbed it, too. Nothing. The problem is, none of the adhesive removers can get to the actual adhesive.

I’m presuming you’re using the Sync E’s with a dslr or similar that doesn’t have dedicated timecode in/out and you’re just laying an audible TC track to one of the cameras audio tracks. With the Track E’s, they are single channel recorders and TC is metadata in the file. Just like with a camera or mixer/audio recorder with dedicated timecode. I’ve never edited on Resolve, so I don’t know if you have to tell it where to look for TC and if you’re telling it to interpret it from an audio track, if that means it will ONLY try to do it that way with everything and you then have to switch it back-and-forth depending on the TC source.

If you need to use wireless and a Track E(US/US version), call Remote Audio/Trew Audio. It took a little trial and error, but they built me custom splitter cables so that I can split my lav’s to simultaneously feed my Lectro belt packs and Track E’s. I actually like this more than if the headphone jack wasn’t disabled, because for me, the wireless feed is the primary and the local recording on the Track E would be only as an OMG back-up. So doing it this way, you are (more or less) getting the straight, unadulterated sound/signal from the lav to the transmitter, instead of going through a device that is effecting the quality of the signal, since it’s coming back out of a headphone jack.

Had to be tested a few weeks ago for a shoot and the Dr. I use when I’m responsible for getting tested on my own(i.e: bill it back to the production) wanted to give me an antibody test as a courtesy(I had gotten my second shot almost exactly a month prior). She said it’s similar to a rapid CV test, in that it only takes about 10 mins or so(but you’re using blood from a finger stick, instead of a nasal swab). After only about a minute she looked at me and said, “Oh yeah, you’re good”, which made me feel good. Now the million dollar question... How long are we really going to be producing effective antibodies? And how much is it going to vary by individual?

Yes. That’s pretty easy(L & R TA3 to single 5-pin “stereo” XLR). Remote/Trew can knock that out, no problem(I’ve had them build custom cables with left & right TA3 cables to feed out of SR receivers to way more “unconventional” single connections than that). I think they may be caught-up now. They were running about a month out on custom jobs, when I had some cables built a little while back, because of a big order they already had.

I discovered this by accident YEARS ago with a Sony 77, check the top of the lav(the cap) and make sure it is screwed on completely. I had one that had gotten loose and I thought I had a bad lav or cable or connection.

I reached out to Denecke and they replied quickly and said the backlighting is actually attached to the faceplate. It is only one cable that has to be unplugged/replugged to the circuit board inside, but you only get one shot at lining up the face plate, though, because of the adhesive tape that is used to attach it to the aluminum chassis.