Rick Reineke

Penny wise, pound foolish as the saying goes

I have used a PVC pipe cap on other simular projects.

My old Ampex 456 tapes from my recording studio days (daze) are a gooey mess... it is common.

Blast from the past Ty. Many folks these days have never had the pleasure (or displeasure) of adjusting tape bias or doing a full calibration of a multi-track analog recorder (starting with the MRL tape).

+11 .. the male pins point to the signal flow direction.

Markertek.com Broadcast Supply is one of the largest retailers of Canare in the US. They ship internationally as well.

I am not sure about the HF noise. Did the mic come from a reputable seller? There were counterfeit 416s being sold on eBay and elsewhere a few years and they are likely some still around. There is information and photos to ID a counterfeit from an original. I do not recall a URL, but a search should be quick .

You should post this query on the DVI or DVX forums. This is a pro PSM (production sound mixer) forum.. and a tough room if you are not an experienced pro audio person to begin with. That said, those items are low budget items and most forum members here would not even consider them in a primary audio chain.

I recall the Sony Rx has a headphone output as well. The Sennheiser EK-100 portable Rx only has one unbalanced 'main' output, which can output mic level or up to around -10dB (nominal) at the max, so it would be anemic feeding an SD mixer or recorder +4 input.

Placement is more impotent than the mic when it comes to capturing dialog. If you just need a cam mic to record nat-sound, I would choose a M/S stereo mic, which gives more flexibility in post than a mono or XY stereo. On top of a camera is one of the worst possible places for a dialog mic. unless you are less than 18 inches away from the talent.

I do not know for sure, I do not have any direct experience, it is a 'relatively' new feature. It will probably work without a SIM card as long as the user has an iCloud account and the iPhone can connect to the internet (WiFi), or has access to an internet connected computer... like the iCloud 'Find my iPhone'. The last time I looked, the AirTags were about $25 (usd) each.. or less depending on quantity.

Have you looked into the iPhone Air Tag, it is about the size of a US quarter. The Air Tags do not work with an Android if that is what you have.

A sample rate difference is typically the reason audio files do not playback at faster or slower. 44.1k is often played back at 48k on a NLE, With music, the pitch change is usually noticeable, but not so with spoken word, unless one is very familiar with the talent's voice.

Sound Forge Pro supports changing the TC stamp after editing. AFAIK, SFP cannot create a BWF from scratch but can save (or Save as) an existing BWF maintaining the metadata. You can try the SF Pro trial version of 30 days which has very few limitations. Otherwise, a TC stamp can be changed in WaveAgent after editing thd file in yo' favorite audio app if.. the metadata still exists.. some editing apps remove the metadata when re-saving a BWF.

I do not have an Android device, but on my iPhone, pairing to my F8n is agonizingly slow, sometimes a few minutes, even if the smartphone is right next to the recorder. Once paired, it works fine though.

PSM with equipment for $250/day. Nobody here will work for that little no matter the gender, even if you supply the gear. Rent the gear and have a PA intern do what they can. You get what you pay for. Sorry this is a tough room.

You could search the Wayback machine which has archives of many websites. I am not sure where else the files would exist, unless someone saved them. Unfortunately, our friend Jay passed in early 2020. RIP Jay,

Confirm the mic is receiving a full 48V of Phantom Pwr. I had inadvertently set a 302's Phantom Pwr to 12V on occasion. Many condensers are very noisy with less or will not work at all.

That looks a nice app, any plans for a iOS version?

Since resoldering a connector (for heat shrink tubing) is not a option, I would try some plastic epoxy, I do not think rubber cement, contact cement or adhesive calk would be strong enough. A long time ago I had some heat shrink electrical tape, I cannot remember much about it or what I used it for.

If your DJ mixer has RCA (aka, phono) output connectors, you need an adapter cable that has Left and Right RCA plugs on one end and a 3.5 mm mini-plug (locking or non-locking) on the other, to feed the SK-100 body-pack transmitter (Tx). The left and right connections need to be wired the the 'RING' conductor of the mini-plug to feed the Txr. The mini-plug's TIP terminal must be connected to the shield/ground. Anyone with soldering skills or the usual suspect shops can make this cable or may have one pre-made, The EK-100 portable receivers come with XLR and mini-plug cables to feed mic level to a cam or recorder. RIP Eric, you are not forgotten.

I am not familier with rode wireless. Most Tx have a gain setting, so lower that. Could very well be clipping at the receiver end going the to the mixer or recorder input as well. If the sound source is high SPL, you may need a different low sensitivity mic.. as was previously stated,

In addition to the cardioid pattern, the sensitivity spec is low (3.4mV), so it's application is limited to close micing and high SPL sources

The SM57 is a great mic.. sounds good on most anything and is pretty much indestructible... though not very useful for a PSM, except in the rare occurrence something can be close mic'd. btw I have six, but are mostly for live music gigs. The ME2 lavs are not highly regarded by most PSMs, but better than nothing for a back up.

Most XLR Phantom Pwr adapters transform 48v (or whatever) to the bias current lav mics need (typically 3 to 5 volts). As I recall.. the Tram TR-79 can also be powered by a LR44 (3v button cell battery) when Phantom Pwr is not available.