Rick Reineke

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.

Neither the NS10 or the 5C Sound Cube were meant for your listening pleasure... at least the Auratone. The original Yamaha NS10 was sold as a consumer speaker as I recall. OTOH, the Auratone was specifically sold as a studio monitor and states on the back label, "Monitors for the real world" .

Live performance mics can also purchased with a built in 'on-off' switch. I recall the Shure SM58-S.

"I have no idea what you mean by “sound reinforcement”. = sound system so an audience can hear. In a Broadway theater or concert for instance.

Cardioid earset/headset mics are available. But their inherent sensitivity to wind, handling and other issues is usually not worth a very slight increase in extraneous noise rejection. The only place I would opt for a cardioid lav or head mic, is in sound reinforcement to help prevent feedback.

I am not aware of a pro recorder that has a 'sleep' mode. Some have a threshold setting to initiate record and shut down w/o activity. May use very little power though, so a high W/h external battery will run the recorder 12+ hours. Take a look at the Sound Devices MixPre series or the Zoom F series. The MixPre II and the Zoom F6 are also 32 bit, so precise level setting is not an issue. They can also record small file size MP3 files, so a media card would yield lots of track/hours.

Zoom's 'F' series is a different animal. The 'H' series in general has a 'POS' reputation. Otherwise, I do not care what a device looks like, reliability, features, sound and the UI is what does for me .