Rick Reineke

Eric will agree the Sennheiser supplied XLR output cable is a POS. (like the bungled ME2 mic) I made my own output cables with Canare L-2E5 mini and Neutrik XLR and TecNec locking 1/8".

No problems with the OST cables I have, but they're a few years old. I don't recall any problems when they were new either. Additionally they look, feel and are the size of the Sony ECM lav cables.

The G2/3 EK100 portable receiver is unbalanced and like most unbalanced devices, Phantom Power must be avoided. BTW, applying Phantom Power will also drain the batteries of a 302 rather quickly.. been-there-done-that.

The 1/4" inputs on the H4n are unbalanced @ -10dB (nominal), so a SD's 'Tapeout' should work. The SD's direct outs are however +4dB. I recall the maximum line input level for the H4n is around +2dBm. A typical +4dB signal can have peaks approaching +20dB. Do the math. Furthermore, the H4n XLR inputs are mic level only.

Like all wireless systems, the G2/3s require due diligence in frequency selection/set up for optimum performance...especially in populated RF areas. No wireless is set-it-once-and go. The G2/3 receiver's scan function would be a good place to start. However it only IDs significant RF, so for optimum RF performance, most use an external RF scanner and/or Sennheiser's on-line Frequency Finder ( http://en-us.sennheiser.com/service-...equency-finder ) or Spectrum Bridge ( http://whitespaces.spectrumbridge.co...aces/home.aspx ) to find vacant or low level RF frequencies/channels in a given area. -- A quick perusal of the Houston area indicates Sennheiser block A is pretty busy. I would try a frequency in TV channel 28 (554-560Mhz.) If that doesn't work, a different system/frequency block may be needed.

The Oktava 012 are infamous for wind/handling noise (amongst other well known 'issues'). If you're read anything at all prior to purchase, don't say you weren't warned. "What is an otherwise great entry level STUDIO BASED microphone?" > Sorry, there aren't any in that price range. Typically, the 012 is not a bad sounding mic for interiors though, in the right hands. The $600 AT4053 or Audix SCX-1 are the next least expensive of 'pro' quality. A pro quality shock mount and windscreen is still necessary no matter what mic one uses.

Yes, same as John. 20-30 sec. tone followed by production info; date/day, location, ect.

There was a recent post on here about mic'ing NBA basketball players. They run around a lot so this may be of interest.

Get both. Better yet, the matched stereo set with the omni, cardioid and hyper capsules is certainly affordable. I concur, The Sound Room is a great source, however one pays more for the hand-picked service. Not to be confused with the "Dorcey" type modification, an option from Bill Sitler or Micheal Joly, which reduces the Oktava self noise and infrasonic LF among other performance improvement.

I agree with the above. Get all three. If I could only have one for non-hidden scenarios, the 802 would be my choice.. especially if your using an analog wireless w/ noise reduction compander.

Not specifically the EX cams but I've used Comteks to feed other XLR inputs. It should work, make sure the XLR connector is wired for unbalanced operation and set to line. You may have to fork around with the out > in levels to find a sweet spot.

I'm sure it's something on their end... usually is...and a relatively common occurrence I'd check it a known accurate meter just the same.

I concur with Eric. A limiter setting of +16dB on the 442 will work good. The below forums are generally for OMB camera folk, but audio pros also frequent to offer opinions and advice on the sites' audio forums. A lot of useful information for the less experienced and you won't have to put up with our beloved Senator.. DVinfo: http://www.dvinfo.net/forum/all-things-audio/?s=1e2f95dfd534fa8f75acbfd2aa5a5259& DVXuser: http://www.dvxuser.com/V6/forumdisplay.php?29-Audio&order=des

442 > Panasonic HMC150 video camera. Simple: Both 442 main XLRs outputs the camera's XLR inputs should be set to LINE. Then set the calibration tone so 0dB on the 442 meter equals -20dBFS on the camera's meter, DO NOT use 'AGC' or other 'auto' setting on the camera. When I use G2/3s with SD gear, a MIC level input will work good. Assuming your using the EK100 portable receiver, set the AF level at -12 or -18dB and you should be able to attain adequate levels. There's been much discussion on the G2/3 systems so searching this and the DV audio forums for other worthwhile info. Since you're asking these questions, you obviously have little knowledge of audio, so I would suggest reading Ty Ford's and/or Jay Rose's books which cover the basics. Read the 442 manual.as well. Additionally, you should consider hiring an audio pro for anything important as you are probably in over yo' head.at this point.

Same here. I put a SD card through the machine, wash, rinse, spin cycles. Let it dry out fully for a few days.. all is well.

One thing to remember, is tape up the switches, wind can get in there and make a surprising racket! Yes indeed.. wind can sneak in through the XLR connector as well (on some mics). Make sure the plug's o-rings are not missing and/or seal that up too.

+1 yes and no. If it's more than a few days (or for air or rough ground travel) mics are returned to respective cases.

Back in my music recording days, (daze) when a singer didn't like HPs and wanted a 'live' speaker monitor, I'd put up two, flip the phase on one and position them accordingly. Of coarse the singer was iso'd from the band or for overdubs. In this case the earwig is an better approach.

Never used the Mickey Mic, allegedly about the size of a B6 and sounds 'OK'.. from what I've read. The general consensus around here is TL40 is good sounding. Not as good as the $400+ top shelf lavs, but as good or better than most. Bang for the buck?.. can't beat it. I have four and few complaints, except a faulty wired plug on one. OST sent a replacement within 30 min. of notification. I've talked to OST about a B6 clone and "is under consideration" according to Dave.

As our esteemed friend Eric stated, both the G2/3 EK100 receivers are unbalanced. The included (POS) Sennheiser 3.5mm to XLR output cable is wired correctly for use with a balanced mic or line XLR input however I made replacements with Canare L2E5 mini, TecNec locking plugs and Neutrik XLRs. Po' pitiful me, I don't have either a 664 or 633. G2/3s work OK with my 302/744 set-up but in some instances additional line level gain would be nice .. so I'll use mic level as well. I have also used them with a Tascam 680 which has acceptable gain in line mode. Go figure

Line level (not quite [nominal] +4dB but should work) is with the EK100 receiver's AF level adj. set to +12dB. (max) Mic level with the AF level set to -12 or -18dB. If neither of those settings work, there's other issues. Possibly the (unbalanced) output cable: Pin 1 and Pin 3 on the XLR should be tied together. The 'ring' connector on the 3.5mm (locking) connector is floated.

Not familiar with the Maxx, but I've recovered 'lost' (no TOC) files with Piriform's Recuva. The 'lost' files normally have cryptic names so a deep scan and detective work is usually required. Don't know if Recuva has a Mac version buts there's other recovery apps available for Mac. Recording after an issue can overwrite a card's data that may have been recoverable otherwise.

The Audix SCX1 hyper is worthy of consideration in the $600 price range as well.

It's recommended to have both end-address (B3/6; TL40, ect.) and side-address (TR50; 801/2; 150/2, ect.) mics.

Some of the non-pro and 'lite' versions.