Rick Reineke

(9 years) + 20 hours later.. Does the application you are opening the file with support the Broadcast Wave 'Poly' file format.

Trew Audio has third-party straight and coiled replacement cables available for the 7506/V6 HPs. Bulk cable would be much lower cost.

I do not think that is possible. Why not just use the PFL or solo in the mixer or recorder to selectivly monitor.

I have used the 012 indoors with an Invison-7 mount and a cheap foam windscreen, with no problems, forget about exteriors though. I use mine mainly for drum overheads these days, since I have a MKH50 and an AT 4053 The China knock-off was originally for Guitar Center stores, and allegedly did not sound bad, and more consistent build/sound quality than the Russian OEM, which was a gamble.. very good, to very bad, the reason I purchased from 'The Sound Room'.

I bought a 'hand-picked' Oktava 012 set from 'The Sound Room' about 10 or so years ago, the 'stock' mics sound very good.. warm.. though I prefer a higher sensitivity and extra attention is needed for the well known handling and air turbulence susceptibility, There is much info online about the Okatvas and the so called 'Dorcey' mods. Both Bill Sitler and Michael Joly do sales repairs and mods. Mike Joly allegedly ceased repair operations last year.

The cables I see in BB's website appear to be the usual TRS (3 terminal) connectors. put another plug or adapter on and disconnect the plug's ring terminal which most likely shorting out the tip in the Comtek's mono jack output.

Being a live sound engineer is valuable experience with the basics connecting the audio components, but other than that, it is very different with a whole other set pf skills to acquire. boom or PSM. I came from a FOH music mixer and recording studio engineer background, prior to having the opportunity to work on run & gun documentary crews in1990.

I prefer using the two-conductor Canare L-2E5 mini mic cable and leave the shield unterminated. The OD size fits the TA and Hirose connectors nicely. I have also used standard 18g zip cord from Home De-pot,

A cardioid capsule would be wanted if there is a sound system involved In any case, it hard to beat an SM57 with a A55M shock mount and A2WS windscreen... Sounds great and almost indestructible for around $150 (usd).

So sorry to hear this. I talked to Eric a few times on the phone. He was really nice guy and very knowledgeable with wiring info for Tx connectors and such. Condolences to family and friends RIP Eric

Most of the music recording studios I worked in (70-80s), had oscilloscopes to monitor phase as well as test sets for analog tape machine and console alignments. A scope It is really not very useful for PSMs and you can always sum tracks in mono on most recorders to check phase Otherwise, many DAWs include scopes and such, or are available as a third-party plug-ins (free or otherwise). OTOH, An RF scope like the hand held RF Explorer is. FWIW, I do not miss calibrating analog tape machines.

All BT devices have some inherent latency, some are better than others. I tried out a so-called "low latency" BT device, it still had a 150ms (or so) delay.

Thanks Jeff, I did notice some changes and was wondering if I forked up some setting.

The G series EK 100 portable receiver's output is unbalanced, so that's about x10 more than the 'recommended' length unbalanced mic level. Line level would be better, but that ain't a perfect solution either.. the max AF out setting for the EK 100 Rx is only around -10dB (nominal), so getting good good levels could be a problem feeding a +4dB input. Exasperating the fact, SD's line inputs need a hefty line level,

I have a 6s, and wired up a TRRS mini-plug and fed it mic level. Wiring: I floated the Tip and Ring-1 .. which are normally for headphones L&R), Ring-2 is common ground, Sleeve is ext. mic. (unbalanced of course)

I have input an audio mix to my iPhone and sent that via the Zoom meeting app. I suppose other meeting apps would works as well . If she wants video as well, send an audio mix to the camera, which you are probably doing anyway, and let those folks worry about it.

I would look into the Sound Devices Mixpre-3-II or the Zoom F6. Both offer floating point 32 bit recording with almost unlimited headroom, which can be important when recording unpredictable SPLs,

"I wasn't aware of the counterfeit thing" > It was not really 'counterfeit' but it was made in China by a third-party for Guitar Center stores... a complicated arraignment.

1 is 1.. 2 is 2.. 3 is 3. The physical layout should not matter, but I would take a look at the receiving device's specs anyway. That said, if the TA3 / mini XLR was the same as the standard size 3 pin XLR it would be less confusing. Years ago there was a discrepancy on the XLR hot pin. Tascam used Pin 3 as hot on some devices.. in fact there was a 'joke' pin wheel device for choosing at a NY AES show.

Interference tube (shotgun) mics like a 416 can problematic in some rooms and are generally avoided for interiors. The Oktava 012's are decent. The lower than usual 10mV output should not be a problem with quality high gain preamps, Quality control issues and the China built 'counterfeits' have been discussed here, as well as modifications and seller options, but not lately. A search should be in order for the OP.

More on the EV 668. http://www.coutant.org/ev668/ Seems to share some the same design characteristic of the RE20. Thanks CineW for posting the production stills

Zoom Meeting has an option in 'Recording' to 'record participants audio separately', I have not used it though. The mic, environment and other quality issues are the same though.

I would be more concerned with preamp noise than a few dB of mic self noise. Rode NT-SF1 specs state 30mV output which ain't bad and should help keep preamp noise low unless one is using a POS H-series Zoom,

Many actors in those days spoke up loud and clear. In recent years the so-called talent' are a bunch of low talkers who incoherently mumble. The FX heavy mixes do not help much either </end rant>.

Multi channel programs are usually compiled in post. Dialog recording and such would still the same. Some multi channel atmos could be recorded though. Most OMB video folk can't even mix a mono or simple stereo sound track to pro specs. Multi channel opens up all kinds of disastrous scenarios.. especially if destined for film festivals.