JonG

If you use a case with a clip you could easily just clip it to the board. When I used ERXs, I’d keep them in the Orca cases designed for them, and they came with belt clips on the back. Setwear also makes something that fits them well and has a belt clip. I’ve seen plenty of Script Sups clip them to their boards and use them as IFB as well as TC readouts for note taking.

I’ve used Transcend 16GB 133x CF cards since I purchased my 788T new over a decade ago. It was the recommended card at the time, and I’ve never had a card failure with them. Transcend 16GB CompactFlash Memory Card 133x (TS16GCF133) Size: 16 GB, Model: TS16GCF133, Gadget & Electronics Store https://a.co/d/688QiEE

Pretty much the whole time. The title of your initial rant for one, then the nature at which you were ungrateful that the members here aren’t specifically here to serve you. You are being paid to know your equipment as a technician and expert in your field. If you do not agree with this statement, then bow out and retire. But since you take money for this service, you should have at the very least read the documentation that it came with. Because you didn’t do that, you were the “victim” of basically the very reason why one should read said manual. Instead of contacting the manufacturer for clarification, you came to a forum and slung mud about in a fury. Then became upset when people called you out. I will admit that I don’t have every frequency block completely memorized, but I do have a general idea of where they start and stop. With that general knowledge, I knew that there was an overlap in blocks 470 and 19. So when I purchased my first A1 product, I was curious about how Lectro handled that overlap, and learned about it right away. Anybody that does this basic level of research about their equipment would have likely followed a similar path. What you have shown all of us is that you do not. I feel sorry for anybody that hires someone this ill prepared.

What is there to disable? You’re either on frequency x in block xa, or frequency x in block xb. It’s up to you to know about that and set things properly.

I’ve done essentially the same with an older Lectrosonics multicoupler (that housed old non scanning receivers) and it worked just fine. Overloading the front end would likely only happen if you were amplifying your antennae too much.

Also, you don’t want to overload your inputs or transmitters with subsonic frequencies that you can’t hear.

I used to use the Ambient ones but sometimes they lock up, and it’s always go-time when they do. I switched to SGS and like them a lot. I have them on all seven of my poles.

I wish this thread existed when I got into Wisys and 6060s. I asked around about 6060 vs 6061 and got crickets. So I went with 6060s. Most of what I do these days is corporate/commercial work, but I did do an extremely long feature earlier this year using this setup, with lot’s of yelling and screaming. The 6060s did just fine, I’d just turn the gain on the tx down when I knew it was going to get loud. Everything worked out great, I just hope that whomever gets stuck doing the post work can deal with the snow machines that you can hear in every scene!

I know that I’m late to the game on this show, but I just started watching “Medici” on Netflix, and the dialogue is just plain terrible. I can’t understand half of it, and it is muddy and phasey, as well buried under other things in the mix, such as the M&E tracks. I’m sure that it was recorded well, I don’t detect much ADR, although with those outfits I’m sure there is plenty, but I haven’t NOT understood more dialogue in a show in I don’t know how long. I have excellent hearing, an above usual hi-fi setup, and I understand accents quite well, having lived abroad for many years and speaking more than a couple languages. What is with this mix? Yes there are whisper actors but all the dialogue is buried in one way or another. I don’t get how this passed QC! Back when I did restoration work and surround mixing we would have never let this through. Why do streaming companies that do original content cut such crucial corners? I know that camera has been put on a ridiculous pedestal lately, but really, sound is 51% of a show at the least. If we can’t understand what people are saying, what’s the point of the show? Come on people.

I imagine that would be rather complicated since each brand of wireless mics has its own compatibility mode, not to mention encryption, digital vs. analog, etc.

Yes. Read more about time code

I believe it was block 27. And from what I remember, it was a wireless service provider van that picked it up while driving by and hunted it down.

It was in the US. They received a warning, and were told that if they continued using it, there would be a fine.

I know someone who was busted for using illegal blocks. It is real.

The setting always depends upon the source. Structure your gain accordingly.

SMQV, HMa

You know what, I think I remember now that I bought the connector at LSC and soldered it to a BDS cable (Dave was aware of the size being different and they kept them in stock), and you’re right it is slightly different. I didn’t use those monitors for very long, they were too fragile and cr*pped out on me within a year, then BM took several months to replace them under warranty, and I decided that they weren’t worth doing business with, and went with Marshalls, which have yet to fail, eight years later.

I’m pretty sure it’s just a standard 2.1mm barrel plug, just like on a 411. I used to have these and powered it from my power distro.

Yes this is more ideal. A requirement for graduating. The problem is that nearly everybody that chooses to work in “media” doesn’t bother to learn the business side of things, and literally go about re inventing the wheel instead of seeking out the right kind of guidance and education to become successful, which prolongs success in their own career, and hurts our overall industry. I go out of my way to coach inexperienced mixers and crew members so that they have a better understanding of how to run their business, because nearly all of them end up making the same mistakes.

Following up on what I said earlier, I think a good mic to use for a doc would be a stereo shotgun. Sennheiser and Sanken both have decent mics for this sort of job.

A lot of good advice here. I will add that I’ve worked with red cameras a lot and can say that in my own experience, I don’t think it’s the correct camera for the job in the first place. Yes people use them. But I don’t think they’re good for anything but music videos. They are noisy, they overheat, they have bad preamps, they have nothing inside, you have to “build” the camera and put all the guts on the outside in a tangled mess. What you need is a robust, quiet camera that won’t need to have everything that should come inside the camera hanging on the outside, and if you intend to get useable audio, the camera itself needs to not generate noise. This is your number one obstacle. After that, a camera mounted mic is inherently in the wrong place to get much useful audio other than POV audio, which can sometimes be useful in a doc scenario, but of course, as we all know, does not replace a professional sound mixer. But I honestly believe that if docs are your ambition, you should start with the right tools, and not try to make the wrong tool fit into your goals just because you already have it.

One thing that so school seems to teach is how to navigate the world as a freelancer/business person. Everybody that wants to get into media makes the exact same mistakes, which is to make no effort into learning what going rates are, how to ask for them, and charge less than everybody else due to their lack of experience, even after working in the field for many years. Knowing how to do the job is important, but knowing how to run a business may be even more so, because it affects the industry for others as well.

Similarly, I use two of these mounted together in a small Pelican case with a four-pin XLR output for my “on the go” bag cart. https://www.swit.cc/index.php?c=article&id=276 you can also just put them on a dual charger and use it’s XLR4 as an AC/charging/DC power source. https://www.swit.cc/index.php?c=article&id=492

As long as you’re not also charging batteries with your mixer, hirose is fine.

Yes I understand that it’s a simple procedure. Nevertheless, it was something that he offered to do while he was converting the power.