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Using a sanken csm1 right now as i type, female talent on 2x cam sitdown interview. Sitting at a table with concrete floor, no real room to put blankets down as its pretty wide. To me it sounds beautiful in this bright space with no interference tube “phasey” issues. Granted the mic is right on top vs following her around this room with any distance, so it doesnt quite answer your question from that perspective. But a 416 etc to my ears would not work at all in this setup

I know its a matter of personal taste - but i have 2x mkh50’s and 2x cs-m1’s in my kit among various others. The 50’s have collected a lot of dust. The sankens have become my go-to for almost everything. I love the sound of them, the gain and the reach - the sanken checks all the boxes mentioned for me.

Forgive me if I am wrong but the 4017 C does not have rolloff capabilities at the mic? I.e.,the 4017b you can low cut at the source before hitting your mixer? Curious if that’s why you had success with other mics

For me the bubblebee pre cuts work very well with their mounts but topstick in rolls in either 1” or 3/4” sizes works great to precut pieces as needed and have the roll for longer pieces as needed.

I still want to try my own experiments when i get the time to with this dpa 6060 in question. I feel I understand neverclip at the mixer recorder quite well when it comes to cabled mics from searching and reading here a good amount of previous discussions. But i dont see a whole lot about transmitter neverclip and specifically the lav mics used when it comes to human voice and transmitter recordings. Mentioned here is the dpa 6061 but I am feeling like a 6060 should have the headroom to safely capture a sudden scream and not distort if i ride my gain at the transmitter a lot less, i.e. 0 to 10 vs 20 to 30. The 6060 at 134dB spl, the 6061 at 144dB spl - when it comes to human voice vs something like a gun shot - i want to believe the 6060 should cover vocal peaks with the better zmt gain setting. Hope to test and confirm or find out on the job whichever happens first

Wanted to report back I ended up machining some brackets for the stock ua874 whip antennas for my friend, mounting them up high on mic stands with 10ft low loss 50ohm bnc in line of sight for transmitters and it made a world of difference. After this setup i realized the sharkfins might have been overkill. But for reference the passive zaxcom original bluefins do have a 50ohm resistor that could be potentially damaged by power, according to my discussion with Glenn so it is best to avoid powered distribution with passive antennas, unless you are using passive antennas specifically designed to block 12v power.

I want to try some tests this week but i do still feel the mic could have been overloaded in my case my 6060 as the mic was 6” or so from the source. I could be wrong. But the level settings at the trx is a great point that i need to explore further in my tests.

thank you all for the input. I was thinking the specs of the 6060 would still be sufficient but i do appreciate the advice of the 6061 and 4061 for this purpose. I will certainly give one a try. -Ken

I felt I understood my lav setups and their capabilities until a test I ran yesterday. Hoping to get some help to be properly re-educated. I had a DPA 6060 and a zmt4 on a male talent yesterday recording some standard sales style dialog for a commercial. Mic was mounted near center of the chest and I believe my zmt level was set to 20. Levels were recorded great the whole day. At the very end, clients and talent wanted to take photos together and he screams "woo hoo". As I kept rolling on it, It was crazy distorted - but no intention of this material being used in production. As a test I later checked the recorded file on the transmitter just to see if it was usable and the same distortion recorded at the mixer seems to be the same distortion recorded at the zmt4 media card. With the DPA and the spl spec of 134 I thought that should cover it - the world record scream is 129dB if i am not mistaken, though surely that world record was not verified with this type of setup. My gut tells me it was overloaded at the mic and neverclip kicked in at the transmitter and just recorded an overloaded mic. I feel I was mistaken thinking the tools I had in place would protect me in hot audio emergencies. My question is - if in the future someone would want to use sudden high decibel recordings, what might I do different with this setup described above to capture distortion free recording? -Ken

Great thank you glad i checked here. I checked with Glenn and he also advised against it. He mentioned there is a 50ohm resistor that could possibly burn out if power is applied. I am going to remote via short low loss cables his stock antennas for now and advise he purchase the ua874 active fins.

I was helping a friend with his shure wireless system at an installed location. UA844 antenna distribution with 4x SLX4 receivers. He was having some reception issues using stock antennas and i gathered it was the location of the receivers. i offered to let him try my zaxcom bluefins on short bnc cables for better reception. If it will work he could invest in ua874 active fins. It hit me though will there be any issues with passive blue fins on a 12v active antenna cable line or should they work for testing purposes and bypass any power on the line?

I personally think lectro did beat it with the ssm. The sm was awesome at the time but the aa lithiums were expensive and the heat was a little too warm on people at times. But in a sea of large packs the introduction of the sm was incredible for the times, and they improved on it well thru the years. After a while, The rechargeable options were great, but didnt last long - half the time at best and caused more heat it seemed. I thought the ssm was a great upgrade. But that zmt4…it is serving my needs perfect. this world of micro transmitters as a whole is the place to be. They all keep getting better with time. I think this A20 will find its place. Seems like a cool piece!

Me too - just got the wipes and salvaged a bunch of sankens that all became gummy in the cables. Glad i saw this thread. It really works and they are back in rotation

Just curious if there is a small size product available or better yet if anyone has done a DIY project for sequencing power to devices from battery distribution. I am finding in a particular situation now that if I could flip the switch and then program power to a specific device to turn on 15 seconds later, it would work wonders. I have a furman M8S At home that sort of triggered the idea of it.

Bingo i think that was it - thanks jack. Its the power sequence that i had changed recently and you remind me I had sorted this out once before. Appreciate it!

I was restoring a file from my camera link micro SD card today. time code was time of day solid all day long, but some of the files have an accurate stamped time code and some do not. Somewhat random. I understand from time to time I may power up the mixer and turn it off quickly and it hasn’t had a chance to jam to time code. But this file in particular is three separate interviews with a total length of one hour and 18 minutes but the time code starts at 00. Not a deal breaker for this particular project, but potentially might be in the future if i dont fix it now. I will call the shop in the morning but was just curious if anybody here has run into files not grabbing timecode stamps? Wideband cam link v2-86 and sanDisk ultra +16 GB microSD

My bad, unfortunately my transmitter was on talent at the time. V4-05 is what i show

I seem to have a hangup with putting my zmt4 to sleep and unable to wake or back to on. When i send the signal from the nova to make the transmitter off, setting it to "wake" and switching to "on" brings the transmitter back but it's almost as if there is no voltage for the mic. I see green as if the transmitter is back on but no audio. My only fix is to go back to the transmitter, power off and back up again and all is back to normal operation. Anyone else have this happen? my zmt-x comes back to full operation with "wake" and my zmt3's comes back to full operation with "on".

This came up in another discussion thread and i was curious to know if any nova operators are using built in noise reduction. This is new to me, and It seems like something plausible for camera tracks for clients who edit straight from camera with unaffected tracks as backup, etc. does anyone here do something similar? What might be your workflow?

Can you post a photo of the charger you have? Not sure i can help but i can try - i have 2x single chargers that are dif types and i can take a look

Checking to see if anyone here might know if it is possible to turn off the audible beep alarm on a sony f5 at the headphone jack. I see system menu settings for alarm trigger parameters but not for audio level of alarm specifically as i rtfm

...followup - bingo - WAKE from nova did it for the zmtx, whereas ON works for my older zmt3’s (as well as WAKE Now that i had time to test). I’ve used ON so much out of habit with all my previous transmitters I forgot WAKE was even an option. Thanks John!

Just checked - version 3-19 on the zmtx and will try wake today this transmitter in question was purchased new recently so 3-19 was from the factory and from what i see 3-17d is most current? I will check in with howy monday morn but thanks John for reply

Wondering if there might be a known issue as i just ran into this today. I have 1x zmtx and 2x zmt3’s on talent and TRX OFF-ON set to LOW (OFF) works perfect at the transmitters but when bringing back to ON, i cant seem to get the zmtx to come back on without going to the unit and powering off and back on physically. Zmt3’s come back as normal. All settings same across all trx’s. Will have to check on fw revs after shoot but curious if anyone else ran into this or might have suggestions i may be overlooking?

Mode 3 or 6 on lectro transmitters to taste as i believe ifb mode does not work transmitting to sennheiser receivers. off topic from the original post but i do use in the reverse sennheiser plugon transmitters with stick mics and get satisfactory results with 411 receivers in the same modes above. Not feature film quality for sure but beats some lower grade alternatives with live and eng stuff