Rick Reineke

The 'standard' loudness for music streaming these days is -14 LUFS (integrated). LU is not to be confused with dB (peak or RMS. There are many LU meter plug-ins available, free and otherwise. Most DAWs, NLEs and audio editing software have an LU meter option as well. Sound Forge Pro has a 'statistics' tool that is significantly faster than a real-time integrated measurement, for instance if you have a one hour show, the tool will render the pertinent data in about 10 sec (which also can be printed or saved as a text file). You can also check a file for streaming compliance here. (https://www.loudnesspenalty.com/), ,

i still get "Mix" in the mail (USPS) which includes 'Pro Sound' (sort of). I used to get dB, EQ and all the others when I was a recording studio engineer in the 70s & 80s.

The AT 4073a is a good sounding (relatively low cost) mic. It has very high sensitively.. around 70 mV, compared to most other short shotguns like the 416 p48. which are around 15 to 25 mV . It is about 9" and weighs 4 oz The 4073 is not great for high SPL environments and the 150 Hz HPF is a little high IMO.

" *Not available on units sold and/or operated in the United States" What does this mean? I do not see any * in the features list. Maybe just not sold in the USA.

You can check if the AC power supply is the problem by temporarily running the F8n on it's internal AA back-up batteries. Does the inference occur in all locations?

A PCM Poly Wave file is the same as a standard wave file except there is more than one track and is often a 'Broadcast Wave Format' file with metadata, time-code stamp and such. A BWF has the same <.wav> extension as the garden variety Wave file.

Hi Jeff, I am sincerely sorry to hear of your loss. My deepest sympathies to you and your family during this period of mourning. +11

I am using Pale Moon and only see the post from Jeff. I do see my reply though.

As I recall, the 'Open Media Framework' format has a file size limit of 2GB,. The audio may be exported separately though, or use multiple OMF files with fewer tracks or segment durations.

Vegas Pro is relativity intuitive NLE.. and has a substantial DAW built in. When Vegas was first published in 1999 by Sonic Foundry ans was an audio-only DAW, Basic video support was added in version 3 as I recall. Vegas has been a full blown NLE for quite a few years now and still has the full featured DAW. The sister audio editor/mastering app, Sound Forge (or other stand alone audio editors), can be integrated into Vegas as well.

When investigating or considering a new or alternate mic, I always look at the sensitivity factor in the specs, for instance: "–21 dB (89.1 mV) re 1V at 1 Pa". This is considered extremely sensitive (loud), so less gain would be required on the preamp. Very sensitive mics can have a higher noise factor and a lower maximum SPL (pros an cons).

No as well,. I also was a music recording engineer prior to sound recording-for-picture work. OTOH, I sometimes use my portable film sound recorders for music.

I do not think a kick drum mic would be a good choice for choirs. I use my 421s for high SLP environments and an occasional voice over, but the talent is within inches of the mic.

F8n manual, Page 76

Tx is an abbreviation for "transmitter" Rx is an abbreviation for "receiver"

I had a ECM 77 which which I converted to use with a Tx, though it was long ago and I do it recall the pin assignment. I also put a compatible jack on the XLR power supply's cable, so I could still use it in a hard wired scenario.

I have run four channels of unbalanced audio ( -10dB ) through star-quad w/o issue. But the cable run was only a few feet. I used the custom 4-channel RCA connector cable for about two weeks on a unique set-up.

There is the Canare L-4E5C Mini Star Quad which fits in a TA (mini XLR) connector. For connectors, the Neutrik REAN mini XLR comes with two clamps, one for small (lavaliere) sized cables and another for larger star-quad mini size.

For high SPL environments, dynamic mics are often preferred. I have Sennheiser MD 421s, SM 57/58s and a couple of dynamic lavs for automotive engine compartments and such. I do not have any specific experience with aircraft.

Congratulations and thanks Jeff. All kinds of great info for us PSMs and boom ops. I have been here for almost 14 of the 18 years the JWsound group has been in existence.. Prior to that, RAMPS

OscarSoundtech OST 801 and 802 (Tram TR50 clone). The TL-40 is a 4mm lav with a rather flat response. OST in New Jersey, has been making these for at least 10 years.. probably closer to 15. I think they still sell for under $150 usd. I do not know if they would work after being exposed to water. The Trams were somewhat water resistant as I recall. I would expect the same from the 801/822.

Panasonic RP-HT21 (open back), also under $10.. they sound good and hold up to typical abuse.

The G2, 3. 4 EK 100 portable receiver series has an unbalanced out , so XLR pins 1 and 3 should be tied together. The EK 100 Rx is essentially mic level but with the AF Out setting to the max, will easily feed a -10dB input. It would be anemic though feeding a Sound Devices +4dB input.

I have a blue 25' Canare L-4E6S star-quad cable I originally bought back in 1990 that has seen all kinds of ENG abuse in all kinds of harsh weather conditions. Aside from the color being a bit faded, the cable shows no other signs of degradation. The Neutrik XLR connectors were replaced once or twice though due to damage.

After the fact, you could use AI software (SpectraLayers Pro or RX Adv) but I do not think the extraneous BG noise could be be adequately separated from the sound of the 'work' .