Rick Reineke

Engage the HPF (high pass filter). A good shock mount and wind protection you 'should' already have.

+11

To decrease interference with the G2/3/4 Sennheisers, get an RF scanner to find a clear frequency range. The Sennheiser's internal Rx scanner it not sensitive enough to detect extraneous RF that can cause hits and dropouts. I have use my G series systems in RF hell (midtown Manhattan) with very few hits. Prior to getting my RF Explorer, they were pretty much unusable in highly populated RF environments. In lieu of a RF scanner (but not as good), an online frequency finder can be used to detect TV stations that can cause issues. Choose a channel range with a modulation of -80 dBm or better. btw, the Sennheisers are not substitutes for my Lectros, but perform relatively well with due diligent frequency selection.

Receivers can be diversity and non-diversity, transmitters have a single antenna system. AFAIK, sound quality is basically the same if there is no multi-path interference. A diversity Rx can eliminate most multi-path interference. I am not an expert on the different diversity types though.

Hire a pro because you are obviously inexperienced which will likely save you money in the long run with ADR and attempting to fix poorly recorded sound in post. Sorry, this a tough room for non-pro folks

This would be a operating level mismatch, and is over-driving the input stage of the cam or recording device, for instance feeding a (nominal) +4dB to -10dB input, or in extreme cases, feeding line level to a mic level input.. a common issue on the DVinfo and DVX semi-pro audio forums.

I am not very familiar with the MP series, but the line output could be at -10dB, which would cause a low level feeding a +4dB input. The gain setting on the cam could be attenuating the signal as well.

I just got a news update a few minutes ago.. What a shame. But 80 years is a long life. One of the few drummers I liked who played 'behind the beat' RIP Charlie.

A lemo is more versatile to use either wireless or hardwired with power supply/adapter. An XLR adapter to feed a body pack Tx is a PITA in many ways.

The Audio Technica BP4029 stereo short shotgun mic is a 'relatively' low cost mic with a high output (sensitivity= 31mV mid capsule). Like most cam mics, it is not a substitute for a properly placed boom mic but really good for nat sound.

adsf Yes, many NLEs can only edit down to the frame level. OTOH, most DAWs can usually edit down to the sample level.. or at least to milliseconds.

The Sennheiser SK100 body pack transmitter uses the "Tip" terminal for mic level. The 'Ring' terminal must be jumped to ground/shield. For -10dB line level, the 'Ring' terminal is 'Hot, and the 'Tip' is tied to ground/shield. A +4dB line feed can clip the input stage of the SK100 (regardless of the Tx 'Sensitivity' setting), so it should be attenuated some.. at the source or via a pad. As I recall, the Sony TX uses the 'Ring' terminal for audio (hot) and the 'Tip' for Bias current. I am not positive about the Sony though. so maybe someone can elaborate. Line level operation is switched within the Tx. I do not know if the Sony can handle +4 line level w/o a pad. In any case, a mic wired for a Sennheiser Tx will not work in a Sony Tx or visa-versa

Goo Gone Original is allegedly plastic safe and states: "can be used on carpet & upholstery, clothing, any hard surfaces including glass, laminate, metal, wood, plastic, vinyl, windows, ceramic, granite, flooring, countertops, tile and wood". I used it on mic cables and many other things w/o any noticeable damage. I never needed it for a slate though.

I would not use a heat gun, they typically put out way to much heat than what you need. You want 'warm' .. not 'hot'. Use the razor blade just to lift the label's edge .. do not to scrape it off like a decal on glass.. Lifting the label's edge with the blade should not cause any damage to the slate.

I got some bizarre messages as well, "checking your browser" and then the "I am not a robot" pCaptra dialog which reappeared four or five times with the same gallery of photos to choose from. The webpage opened normally just now though.

Heating the label some with a hair dryer loosens the adhesive, then pry an edge up with a razor blade so you can grab it and slowly pull it off I am not sure about using goo-b-gone adhesive solvent.

Many folks like the (USA made) Oscar SoundTech 801/802 (TR-50 clone), Still under $150 (usd) the last time I looked. The 4mm end-fire TL-40 (flatter response) is another OST model. OST's customer service is very good.

I have done both production and post prod sound quite a few docu's and I enjoy both aspects +1: "and you can’t blame anyone if it sounds sh#t" I would not try to pass myself off as a post sound mixer for movies, many I hear still really suck though which were done by 'Holywood' pros

I would kind of doubt the HP jack if different sets of HPs exhibits the same behavior and no visual damage or feel of the plug/jack connection is apparent. Call SD directly and ask them, they have always been helpful in my experience and their customer service is legendary.

You will want external power for either recorder. The F6 uses the 'standard' Hirose connector. Internal AA batteries are a good back up for external power loss, be it from a battery or wall-wart. The SD has better preamps, but not significantly better. The auto mix on the F8n is decent, I do not know about the F6 or Mix Pre.

"I got OST TL40's for my Sony UTX-B40's and they were wired signal to sleeve, screen to tip (!) " That's bizarre! Must have been a OST mistake.. which is rare.

See this recent thread https://jwsoundgroup.net/index.php?/topic/2969-recording-cell-phone-conversations/

While it is not a substitute for an RF scanner, Sennheiser's online Frequency Finder can identify TV stations in a specific area. Avoid channels with Prx signal strength in excess of -80 dBm or so. The USA/FCC data is out of date, I do not know about Germany. There are other frequency finder websites to ID TV channels/frequencies signal strength as well.

The MD21 has an odd shape (like the MD421) so traditional mounts for 'our' shotgun and pencil type mics or even for hand-held performance mics will not fit. If the '21' is same size and /or uses the same captive mount slot as the venerable MD421 tom-tom mic, this should work, https://www.sweetwater.com/store/detail/MZS421--sennheiser-md-421-shockmount There are large 421 shock mounts as well for radio host booms.

Pianos are one of the most difficult instruments to mic (to get pro quality), double the difficultly if the mics cannot be seen. In closed lid scenarios, I use a pair of Crown PCC-160 boundary mics gaffer taped to piano lid's underside. This also works great to ISO the piano from other instruments