Rick Reineke

What are you mixing for? If for film festivals and such, it's much 'safer' to mix in stereo (or even mono)> Improperly or uncalibrated systems are common. Even If the venue doesn't have a multichannel PB, the 5:1 downmix could be a disaster.

Sounds like they used the lavs anyway. 414s just don't work unless it's in your face like for VOs. LD mics outdoors w/o windscreens makes me wonder who's idea this was as well.

NYC is very expensive... especially Manhattan. If you have a vehicle, which I assume you would, even more so. A few years ago, I moved to the N/W 'burbs' where things are 'a little cheaper', house w/ driveway & garage to park my vehicles.

"Boom operator? ???" I've seen this as well: "Seeking Boom op with an opportunity to work with and learn from our top notch sound mixer"... -- who is also not getting paid. (blind leading the blind)

The 442 has auxiliary TA3 +4dBu nominal level main outputs. The tape out is indeed 14dB lower than the mains

Same here. I've been using the Garfield Softies for five or more years now on my 7506 sets. In addition to protecting and keeping the ear pads in place, they're cool in the summer and warm in the winter. You'll give up a dB or two of isolation as a trade-off though. A small price to pay for the extra comfort and reliability IMO.

I recall the Quantum5x gear is exclusively used by the NBA teams with specific pouches and mounting procedures. There was discussion about this specific usage a few months back. NFL films may also be worthwhile to looking into. I recall they use the Lectro SM transmitters placed in the shoulder pads w/ the mic in the helmet. I don't recall which mic they used though.

Someone will likely call the NOW organization. In disgust or delight.

A friend, PA or other inexperienced person 'boom op' is a real bad idea and common with low budget productions. They can (and usually will) screw up the sound, not to mention damage the gear... and possibly the set and talent. You would be much better off using a C-stand. One less person on-set as well.

Dollsfoto may be better off checking out the DVinfo and DVuser audio forums, which would be better suited to his obvious expertise level (or lack thereof).

Yes subjective, . case in point: I recently purchased a set of the Sennheisers, They sounded down-right strange to me after using the Sony 7506 for 20 something years, so I exchanged them for the Sony's. In addition, not everyone has the same shaped head, so if one particulate model is physically comfortable for one person, they may very uncomfortable for the next.

I thought about replacing w/ removable aerial, but the factory replacement part is only about $4 each and 10 min.s R&R. It really wasn't worth it for me. OTOH, a remote antenna is another story.

I carry around an old H2 in my car's glove box and travel bag in case there's something worth spur of the moment capturing. Low SPL sources can be a problem though, it's a bit noisy. Don't know about the updated H2n.

The new Rode has the Rycote Lyre suspension system which is highly regarded by many of us.. There's YouTube demo about you may be interested in. Other than that, I haven't had my hands on one.

In my tenure, a C-stand is usually a better option than an inexperienced 'boom op'. easier on the gear too, an expensive mic/boom pole set-up in the hands of an idiot, spells d-i-s a-s-t-e-r.

Sound Devices MM1 or MP1 is what many of us use for a preamp/line driver. If you need a line distro amp, that's different. If you can be more specific, someone would likely have a recommendation.

I hear a harpsichord accompaniment.. or a Les Paul/Marshall to cranked to 11.

Mind altering medication.. and/or insanity.

"Moral of the story, ALWAYS get your kit on the carnet!" - and have bribe money available regardless of the 'correct' forms. Been there done that in Maputo, Mozambique. . It was basically the same guy putting on a different hat for each step of the way, it would have been funny if I wasn't there. A freak'n nightmare to me though.. Armenia customs was a PITA too, but didn't cost anything except time, aggravation and stress. I don't do docus these days involving international travel.

"-20 dB tone from SD-Mx Pre D" Assuming the MixPre D is like other SD products, wouldn't the calibration tone be 0VU on the MixsPre's meter, which would equal '0dBu' at the XLR (in line mode)..-20dBFS would then be the 'normal' setting on the following recorder, providing it has full range.meter. (dBFS) Or am I missing something? (my mind for instance) In any case, that's good info to have, Thanks SG

Stuttering sound?... Motor-boating? I've had 302's exhibit that., a HP filter is usually the fix in that case. Can we assume the mic sounds OK in the MM1? If it's at/after the receiver, one would assume a RF issue. Have you tried different frequency, could be a coincidence the Sanken worked OK. ( or is it repeatable every time?) Can you post an audio clip? Many of us can ID typical problems by the sound.

I recently saw this YouTube video, where a G3 and the new UWP-D were 'tested' side-by-side. In terms of audio quality the G3 sounded better, IMO. (though the G3's bungled mic is still a POS) In terms of range/reception, the UWP-D won. However there was no mention of frequency selection (or method used thereof) and other set-up parameters, so I'd be wary of the Sony w/o actual hands-on experience or reviews from a known trusted source.

A line level input config. would likely work.. probably even work w/o a HP volume adj. The 'Ring' terminal on the G2/3 body pack x-mitter's 3.5mm connector is line level . (around -10dB nominal) BTW, the 'tip' must be tied to shield.

"I used to own something which allowed an MKE2 to be used as a headset mic" - Sennheiser NB 2 headset adapter?. It's kind of a clunky single-ear design, not as lightweight as the E or H6 but most lav mics could be mounted.

Can we assume Subway tuna lunch and all the NYC tap water you can drink.