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Curious to know the “MHz Bands” might become available to zmt4 owners via firmware or are they hardware specific? If it’s the later, a zmt5 makes total sense but i love the idea of this unit with those extra bands. Also curious how long this unit might last on eneloop pro’s or equiv nimh batteries in a real world use.

Thank you i missed that! Great info. I will check it out

This is an old one but wanted to find out an opinion as I am about to purchase some longer antenna cables. I currently have 15 foot low loss cables just to get high on a stand like a C stand in front of my cart etc. but would like to get 25 or 50 foot cBles made for the same reasons mentioned above. Is 50 foot a common maximum length still getting decent results or should I go with 25 foot to be on the safer side? Was leaning towards the bulkier belden 9913 cable larry mentioned

This concept of upmixing is still something i am trying to completely wrap my head around, but all of sites i am reading and seeing demos of halo upmix etc seem to be referring to upmixing stereo music mixes. Do the same principles apply to stereo ambience field recordings when it comes to upmixing stereo material into multichannel projects?

Now that you mention the font size of that OP message is awfully suspicious! hopfully not fanning bot flames but on this subject i know it has been mentioned before but for the wife n i - subtitles are becoming the norm, if only to confirm what we think we hear

I am intrigued by the bag for sure but even more so the knobs!

Dangit i am sad to hear you are having trouble with a response - i had issues once and posted here about mine breaking and someone dm’ed me and sent replacement lyres free of charge. I will try to track down their contact info. looking at that particular suspension i wonder if you might benefit better from 2x independent lyres of heavy duty variety vs that particular joined together suspension?

I went for it and had A friend of mine print me a bunch and for my personal workflow these are absolutely perfect! They are not for every Mike placement but definitely another tool to deploy when needed. I had great success with collared button up shirts and polos using these. In the past I used to use a combo of make up sponge moleskin and toupee tape for starchy shirt applications to create this same idea and as I had suspected these are a third of the size. I used these with DPA 6060s And the mike stays tightly suspended and fully shock absorbed inside with much less transference vs ursa mounts alone. I use a single piece of toupee tape for the slimmest footprint for its size but can definitely be used with moleskin as needed. This was my first attempt at 3-D printing gadgetry and I really appreciate you posting the file it worked perfect for him to print from.

Genius tip i will file away for future use!

What about the option of mogami w2697 - I use this cable for everything where I need thin flexible balanced cable and it solders really well https://mogamicable.com/category/bulk/microphone/lavalier/ my dad and my sons and I all went fishing recently and my dad brought his fly fishing rod and I could see how this concept would work as this cable is very thin and flexible very similar to fly line. I will for sure share this thread with him as he is not a sound mixer but does have an appreciation for our craft nonetheless and will get a kick out of it

I was thinking this as well - a locking TA3 female seems to take a bigger panel mount footprint vs the male where the lock is at the connector at least in my experience with project boxes

Yep try moving the front lyre clip to here just behind interference slots as those look like the newer clips, or worst-case you can replace with heavy duty lyres

or possibly the spacing of the battery as i have had to put a few layers of gaffers once to keep the pressure of certain batteries inside maintaining contact

Looking to see if anyone can recommend aes digital cable preferred to use for custom cables in mixer bags. I have blue aes cable by Clark Cable I am currently using and it's not the greatest size and hard to solder with. About to run out so looking for a better replacement.

The best option for the price in my experience is the ktek avalon aluminum poles i believe they are around $200 w/internal coiled xlr. I have one I could sell but not worth the shipping i am sure to your location - you might find one local used much easier. Or if only for backup you can be creative with extra long selfie sticks, mono stands or monopods and adaptors for an external cabled version in a pinch plus i am sure those bits could find use for other things

I personally have had the most success with the invision lite 19 mm But it’s a combination of the pole and mount that I think might help with my handling noise. I’m using a loon boom pole which unfortunately they don’t make any more. When it comes to Zeppelin‘s I had to go back to older ring style and a con box to find the right mix of rycote bits to help with handling noise and that seems to work well for me.

If you want a good m/s solution check out the sanken cms-50. It is great but it does roll of some of the low end that would be captured with the 8040’s

I recently purchased the cms-50 and I quickly found I love it. For stereo sfx I have been gathering lately with it, I diy’ed a Zepplin rycote no10 with older style suspension and i paired it with a dpa 4015 wide cardioid capsule. The newer lyre clips positioned the mics too high in the basket. The wide stereo image is amazing in this configuration and also the low end from the 4015 makes it a really unique, well balanced stereo sound. I took a dremel tool to the rycode piggyback clip to help it clear the basket inside. I know not the best zeppelin for this purpose but this particular combo of light weight and beautiful stereo sound of this rig is now my goto for sfx. i did compare the cardioid in an interview recently using a stereo pole and a csm1. I used the same rycote rig and did a bunch of interviews all female voices outdoors. While I plan to continue doing these tests with multiple mics in different situations in the future, this shoot in particular I found I ended up using the cardioid mic for every single interview except for one. While I love the csm1, In comparing the two microphones the CSM1 I found to be really lower-mid range heavy during these particular interviews and was actually picking up the lower mid range rumble of traffic in the distance. The cardioid of the CMS-50 was the winner with less of that lower mid range and an overall well rounded natural voice sound for these particular female voices, and just enough directional reach for these interviews with the mics positioned directly overhead and tight framing. The one interview where I felt the CSM1 was the better choice of the 2x mics was someone who was very soft spoken. The csm1 did a good job of filling in the audible missing pieces. Ultimately I predict the cardioid of the cms-50 Will come in handy in a lot of situations especially being able to A/B in real time on a stereo pole. As far as Midside mics this one is a winner and I highly recommend.

I did confirm officially now that i own a cms-50 both mid and side require individual phantom engaged to work properly

Have heard back officially from DPA and mine is an older design not compatible with current modules. However I suspect there might be an adapter ring solution diy if crafty enough to allow you to use these older 4017’s with newer preamps but not the older preamps with newer capsules. They appear to line up the same and pin makes contact inside.

Did DPA change their thread size for preamps and capsules over the last few years? I own a 4017b That I bought when they first came to market. Just bought a new 4015 capsule to swap capsules and the thread sizes don’t match. Looking at current preamp’s available they all seem to have a smaller thread ring than mine. Expensive way to find this out. Currently working with a dealer to find a solution

Going over the project again, it’s possible it may have been on the talent and performance to the playback track. i think our talent was not as “in sync” as we had thought on set which is much easier to detect critically in a post environment. Multiple sets of eyes watching and listening during the pressure of the shoot can be easily deceived. Also less forgiving with long takes of spoken word poetry versus singing music video style with a lot more opportunities for cuts. In hindsight i think it was important to print playback audio and cam mic with camera regardless of it being a gimbal rig and enforce watching lip sync during the shoot. Even though I was close to her with a speaker, another thought is an earpiece for talent might have been beneficial

Yep cam mic was on, it was a gimbal rig and def 48k the whole way thru without the typical 44.1 pitch differential. The editor and i typically work in 23.98 but our client for this project has been in business for a long time and likes to work in 29.97 non drop a ton for what ever reason (a comfort zone?) so my guess is this is the culprit. I will talk more with the editor to see if we can trace this down as a possibility

I worked on a spoken word playback video recently that had what seemed like odd timing issues with playback, and with myself doing the post i was able to correct. Trying to troubleshoot for future reference. Our workflow was: - spoken word poem was video recorded in a local recording studio with a u87 for that “studio look” on canon camera 29.97, sep tascam recorder was used for audio recording, 16b 48k and all was in sync when editor put both elements in premiere timeline - files were sent to me via omf export, i opened in pro tools in a 24bit 48k session, played out different clips with 4 click count header on each to a different tascam recorder, recorded at 24b 48k - tascam recorder from above was used to play back multiple audio clips with 4x header click counts thru a remote audio 9v speaker in mulitiple locations like a standard music video. Video was shot on a sony fx6 at 29.97 when same editor brought new material shot into his timeline, it was as if spoken word audio was 5% faster on these shots vs the original studio recordings (I might need to double check with the session to see what my time compression settings were). But because it was spoken word i was able to fix, not a big deal and in the end the client was happy with how it all came out. Had I not been involved in post, this might have turned into somebody else’s nightmare… I have been involved in quite a few music video playback sessions and never had this kind of issue, from Timecode driven sync to boombox playback. Curious as to where playback speed might have shifted in the process of it all? I was in charge of watching her lip-sync to speaker and all of it was spot on during the shoot of the pick ups, and they all had to be decently long continuous takes so no option for cutaways.

Well my bad completely. even if I wanted to give you the files under the publishers proper authorization, I unfortunately was thinking of the wrong Jay Rose book that i had the cd for… when you mentioned the audio files I remember Jay himself telling me I’d be lucky to find this book in print with the CD still included. Sorry about my mixup