Arnold F.

I've been trying for months to get hold of anyone at Loon. At first they wouldn't return emails or calls from either myself or Gotham Sound (imagine ignoring one of your own retailers!), then their number went straight to a recording saying that the mobile customer was not available. Now, as of yesterday, the telephone number on their website is out of order. All of this followed some rather testy customer service served with a helping of attitude way back when I was able to reach them at all. A.

Another insightful and helpful post of the kind you're known for, Mike. You're the best.

Mike: Do you even own a 788T and, if not, why are you responding to this thread?

Mike: Call Lectro and then report back to us. Also, I think we'd all find it illuminating to hear how you handle this workflow. I'm dying to know. A.

I'm not sure I understand the question. If you're asking if one or two people (out of the many hundreds here) have given an opinion then the answer to your question is yes. Is that what you're asking? Kindly clarify.

Eric: Thanks for the succinct response. I was sort of trying to "bump" the thread to get more responses about whether folks a) output from lectro at low level and input (to camera or recorder) at mic level or, output from lectro at higher (line) level and input at same, and why. A.

By Line level do you mean +4?

I'd like to re-introduce a subject that is of particular interest me currently and it pertains to gain structure in the wireless workflow from talent mic to camera send. I have always been told to output from Lectro receivers at a low level and to input to the recording device (recorder or camera) at mic level. In a past post, reproduced below, John Blankenship makes a convincing argument against this and I'd love to hear further discussion. JB Post: For instance, let's say you are running a mic into a mixer, from whichyou have a line out cable into the Lectro transmitter and then goingmic level from the receiver into the camera... Here's whatyou are doing signal-wise: Your mic is feeding into a low level preampin the mixer which boosts the signal up to line level...then, thatsignal is attenuated at the input of the Lectro transmitter where the,once again, low level signal is AGAIN feeding a low level preamp whichis amplified to the point where it modulates the transmitter and thesignal is sent to the receiver which then amplifies the signal to aline level and then you are attenuating that signal back down to a miclevel, where, AGAIN it feeds a low level mic preamp which boosts itback up to line level to feed the camera's operating circuits.Mostof us are aware that the single most critical amplifying stage is a lowlevel (mic level) preamp. It operates down near the circuit minimumswhere noise, RFI, and gremlins lurk.In the above scenario, byfeeding the camera's mic input, you are now going through THREE lowlevel amplification stages, amplifying the signal to line levelfollowing each one, and then attenuating the signal back down into thesubsequent stage. If I were writing a White Paper on "How To Damage AnAudio Signal," the scenario of repeatedly attenuating a line levelsignal to mic level and then amplifying it back up to line level, stageafter stage, would be one of my prime suggestions.Lectroreceivers always operate at full gain in the output stage. The levelcoming out of the Lectro receivers is then either left at that fullgain or is attenuated via a passive resistor network down to whateverlevel the operator sets it at.The simple answer: Always run a Lectro receiver at max gain out unless it's absolutely necessary to do otherwise.Robert,I don't like the sound of Lectro's limiters, either. They're a "brickwall" type of limiter that isn't gentle to the signal. They are thereprimarily to prevent over-modulation (a big no-no).The bestadjustment point I've found with Lectro transmitters (for units UM200Cor later -- UM200B and earlier were calibrated differently ) is to pushthem until the limiter light just occasionally flickers on peaks -- butnot too frequently.Experiment. Listen. Make sure that whenyou're trying different level settings of the transmitter that you'readjusting the input of the camera with the corresponding reciprocaladjustment so you're not just hearing the camera being hit withdifferent internal levels.

On some occasions when I've used Lectros for car shoots I get what sounds like could be described as electro-magnetic "hits." This is usually when I'm in a follow car one or two car lengths back. I've even heard it when using a cabled Scheops in a car. What am I hearing and how can I avoid it? A.

I can try re-installing the operating system of the computer again but I don't remember an option to write zeros. Also, if it's a hardware problem, how could I "put the problem" on the drive? A.

I've tried FW 400, 800 and USB.

Using a Macbook Pro that, of late, has started to have problems when transferring files to and from various drives. Frequently, a message will appear that says a file is in use. Then, when I hit okay, the progress bar won't go away even after hitting the "x," the drives can't be ejected, the Finder can't be quit and the computer can't be restarted except by manually shutting off by holding down the power button. Then, it takes several tries (plugging and unplugging) for the drives to be recognized even after repeated computer reboots. I use MacJanitor and have repaired permissions several times. I even completely re-installed the operating system (10.5.. Help! A.

As a sound effects recordist I always slate the head and say cut at the tail. And, as a former transfer guy back in the days of mag, there was a critical reason why it was important to have (different) beeps at the head and tail of a take. If, say, the dialogue editor need a reprint of a particular take, I would find the sound roll it lived on - then, using the sound report, I could fast forward the 1/4 tape right to the proper take by listening to and counting the beeps. If the take were the 8th on the tape, I'd count 8 head or tail beeps. If I'm not mistaken, the beeps were rather lower than 1K so that, when sped up, they were easily identifiable. A.

I wish to buy an extra transmitter (by extra I mean not with a receiver) and I'm wondering if I should consider the MM400C to have for shoots that are particularly wet or sweaty. My concern is that, in situations that where I don't need a water-resistant TX, I'll find it impractical and will regret getting it - I'm always seeing used ones for sale and usually infer that the seller was moving it because he found that the more difficult control access made it kind of a pain. Also, I'm wondering if the various home-made and store-bought waterproofing solutions available for the UM400 variants are more useful and, ultimately, more cost-effective for the few times one needs them. A.

I'm on a show with two, two-man (camera, audio) camera crews. We shoot with the HDX-900 and mix/record with two 788T's. We use one 788T as the timecode master, jam the 2nd 788T, then jam two SB-T's, one for each camera. The other mixer connects not only the timecode out on the SB-T to camera, but the genlock, and has indicated that this is better. What benefit is there in this? A.

I've tried to use rechargeable AA's in a Lock-It box and they were just a bit too big! Has anyone had this experience and, if so, is there a brand that works? I'd love to use them in my SM and SMD. A.

But do they not have a tendency to drop off very quickly? I know I've been taken by surprise on the one or two occasions I've tested this and the producer on the reality show I'm on is concerned about this. A.

I'm afraid I haven't been as fortunate as many here and, in production sound, I had to start from the bottom. I have worked on many micro-budget features solo and for very little money and the sound I captured was usually terrific (assuming time to set-up, decent directors/AD's etc.). Some of the best craft I have practiced has been on these projects. I almost fear working on larger budget pictures because, although the pay is better, I can't imagine a production that has no problems affording weeks on an ADR stage would care anything about production sound. Further, the AD's on the two biggest features I worked on were terrible, apparently thinking that production sound just "happens" without their needing to communicate with the sound department. I hear many people at all levels complain about low pay and long hours and imply that $500/day is too low for mixers at any level. They appear to work in a different business than I do. A.

Per everyone's recommendation, I used the iPowers in my camera hops. Do folks use them in talent wireless? I ask because I'm not sure you that their voltage can be read in the rx. A.

Some information from you besides the "go someplace else with your question" response I usually get from you (both in forum or in private messages, despite my asking you to stop messaging me) is what I meant.

I have been contacted by an Australian production company working on a doc in three US cities and they're looking for mixers. The dates and cities are as follows: NY - June 8,9 Washington, DC - June 10, 11, 12 San Francisco - June 13 I had booked NYC with them but had to withdraw due to a commitment to another show. The rate I quoted them was $500/10 hours including gear. If interested, kindly contact Rose Grandile at rg@electricpictures.com.au. A.

Senator: Many thanks for the input. I'll do that. In the meantime, your advice on this particular issue would be most appreciated. I'm sure you wouldn't have posted unless you had something to offer, right? A.

I'm trying to get an HDX900 to start my 744T but have had no luck. I've connected the TC out on the HDX to the TC Lemo on my 744T and have set the timecode mode in the 744T to EXT TC-Auto Record. I start the camera rolling but nada. Anything I'm forgetting? A.

What is the brand name of those little plastic boxes handy for storing lav accessories? I'm thinking of the type that folds in half and that has little compartments. Thank you. A.

Another important difference is that the new Mini is capable of 802.11N speeds whereas the former is 802.11G only. This is important to me as I keep a USB drive attached to my Airport Extreme which I access wirelessly.