Soundwil

Check antenna on problem TX. It could be a multitude of reasons why this is happening. Here is the email address of Manoj (Ex-designer of these systems) who services the 2040 (and 2020) series. If you can get the problem TX to him he will fix it. mdaudioservices(at)gmail.com

One thing to bear in mind about the SuperCMIT, to my understanding, it was originally designed as a 'Pitch side' shotgun style mic to heavily reject the crowd noise. I believe it was for a specific large stadium sporting event, but cannot remember details. I humbly suggest that the recording of nature ambiences did not see a mention on their design brief. Heck, I don't think Drama Dialogue recording would have been at the time either! The point being is that I'm sure a lot of compromises were taken to achieve the desired results, one of which I'm sure was 'self noise' (noise floor). I've used a SuperCMIT for a few years (a few years back now) for normal PSC duties, and it is one noisy mic! Not suitable for sit down interviews etc. but on a few occasions, it was the only tool for a noisy location (ext. mostly), for PSC and a drama or two in my case. Right tool for the job? Depends on the job. W

I was under the impression that the gain boost stayed on after powering down. Anyway, follow Rich's advice, it is sound.

And finally Keith, there are two options for the DSP channel, the first is suitable for Drama dialogue, the second is designed for sports stadiums and is severe in its effectiveness BUT not suitable for Drama etc. due to artefacts. I think mode 2 is your best bet for this situation. Re: Signal boost. It introduces 30db of gain! You may find even in a stadium you will need this boost. Over and out, 👍🏻

Attached is a file explaining the Gain Boost function from Schoeps. 👍🏻 Please note that my method of activation and disabling is WRONG above. See the attached file for correct procedure. Schoeps-SuperCMIT-Firmware-Updates.pdf

Yes, the DSP processed signal AND unaffected 'normal' CMIT signal will be output on ch1 (DSP) and ch2 (normal CMIT) of both Analogue and AES outputs. Be warned, the output from the SuperCmit is quite low by default. I found I had to introduce the 'Boost output' option on SuperCmit to get a comfy level to my mixer (analogue or AES). It was many years ago I deal with the SuperCMIT but I think you hold down all three buttons upon powering the Mic to activate signal boost. It could be the two outer buttons, sorry, cannot remember. ** Please get info from elsewhere to confirm how to do this as my memory is crap **. If you have AES42 functionality on your mixer then you can bypass (do without) the Mini-DA42, but there's no problem using the mini-da42 otherwise.

Take a look at the recently uploaded live Video by Sound Devices about A20TX and Nexus Go. In there it states that 'gain forward' will work with other manufacturers' Mixers - you can use the gain knobs on your Cantar for example (as I understood it) - as long as the signal is kept in the digital domain. Digital from Receiver (A20RX or Nexus (+ Go)) to Cantar. I'll link video below and the time at which this is mentioned. From 20 mins 10 seconds they start talking about "Gain Forward' .. and at 23' 10" they explain how this works with other brands' Mixers/Recorders. https://www.youtube.com/watch?v=k3Er4s57NX0

Saw this on Facebook. Some people are using the A20 mini with UMP3 successfully it would appear. https://l.facebook.com/l.php?u=https%3A%2F%2Fwww.shapeways.com%2Fproduct%2FCFER6W76J%2Fboom-pole-bracket-a20-mini-ump3%3FoptionId%3D300277728%26li%3Dmarketplace%26fbclid%3DIwAR2ZPqrEGfewgD8zbUuLaf7W0onYOtpsavX8Em_jQIb2JWaYen2y-PB2w94&h=AT23lCPqVGwWOQZeeAGwTS7qeEIsph7f-dHlxNR_MHc4yox4_4pcZsSCJwDI93IbhTK1v-3lUX6uU88mgobprpGVyQREuLqJus_GcJtpHZEFdgwPch4o79uc_yhnjRzvZ9bnXrw&__tn__=-UK-R&c[0]=AT3jEbO3Vmj4n-_qUbC0geBIUpf3nUOPCek1aYgRpyFWIgh0IbQN47U9WlR3SsmWiQn-zpWqteJTxKDciD32MW4cubvU5mnK8xGup_eW4pICETCOopr9J_sTvzSjepi3mhljWWOh3ua6Jv5JQIwufMNWLnVQVcjpS5WN4ec I am not yet an A20mini user so literally just passing this on - no personal experience sorry.

Saw this link on a Facebook group posting about 3D prints of a clip for the A20 mini: https://l.facebook.com/l.php?u=https%3A%2F%2Fwww.shapeways.com%2Fproduct%2FWJSJC9MN5%2Fsound-devices-a20-mini-tx-pack-clip%3FoptionId%3D238309127%26li%3Dmarketplace%26fbclid%3DIwAR2jqhji-sLDUWFR0EOiDoJcd5t4Uev607rhXSbkGkWgclNdfmyC2_uczJo&h=AT37yFSGbYKiZodmllqr_fa9miidUd0169uvplRlxxf06kvK7mQEtmsVWLFXJwiRFLAjFu8USzxG5Ve-LpPoOvo0TvxHl3DMlu1SokCpG7QYeqcB0nBKl72dxHX21iuPpWYWeks&__tn__=-UK-R&c[0]=AT3jEbO3Vmj4n-_qUbC0geBIUpf3nUOPCek1aYgRpyFWIgh0IbQN47U9WlR3SsmWiQn-zpWqteJTxKDciD32MW4cubvU5mnK8xGup_eW4pICETCOopr9J_sTvzSjepi3mhljWWOh3ua6Jv5JQIwufMNWLnVQVcjpS5WN4ec Also, for those struggling with the A20 mini and a UMP3 on a pole see this: https://l.facebook.com/l.php?u=https%3A%2F%2Fwww.shapeways.com%2Fproduct%2FCFER6W76J%2Fboom-pole-bracket-a20-mini-ump3%3FoptionId%3D300277728%26li%3Dmarketplace%26fbclid%3DIwAR2ZPqrEGfewgD8zbUuLaf7W0onYOtpsavX8Em_jQIb2JWaYen2y-PB2w94&h=AT23lCPqVGwWOQZeeAGwTS7qeEIsph7f-dHlxNR_MHc4yox4_4pcZsSCJwDI93IbhTK1v-3lUX6uU88mgobprpGVyQREuLqJus_GcJtpHZEFdgwPch4o79uc_yhnjRzvZ9bnXrw&__tn__=-UK-R&c[0]=AT3jEbO3Vmj4n-_qUbC0geBIUpf3nUOPCek1aYgRpyFWIgh0IbQN47U9WlR3SsmWiQn-zpWqteJTxKDciD32MW4cubvU5mnK8xGup_eW4pICETCOopr9J_sTvzSjepi3mhljWWOh3ua6Jv5JQIwufMNWLnVQVcjpS5WN4ec

With my 633 I used (on channels 3-6) one of these because my Audio Ltd 2040 receivers pump out mic level only. From Kortwich: http://www.filmtontechnik.de/en/products-from-kortwich/vcp-preamp/ Specifically the preamp-M3 für Sound Devices 633.

Hi humbuk I use Hawk-woods 98Wh (6months - 18months old - light use) with my 888 + AudioLtd RK3 RF distro + 3 receivers (sometimes 5) + 48v mic. It is normally 3-4 hours before I swap at about 14.4-14.7 volts. I expect to use 3 NP1 a day (without having to battery watch) with 1 spare. 4 batteries to every job. I could make 2 last the day by careful power management etc, but honestly, why bother. Sorry I don't have a 688 to compare with. Figured any info would be useful. W

Thanks for reporting your findings Henrimic, very interesting.

That sounds very much like $250 per day to me! Definitely better places to advertise this job.

Although it is starting to look a bit bulky, I do like the windcover potential, and the distancing of mic head from clothing. Looks like it could be a useful tool in certain situations. Damn! I need to get myself a 3D printer!

I downloaded Wave Agent onto my MacBook Air m1 running Monterey a couple of weeks ago - previously had it on a much older MacBook Pro. Followed the 'guide to downloading to Mac OS' found (I think) on the same page as WAgent download link. Tested by means of investigating some PolyWavs I recorded and all seems fine. I think there was a problem with Catalina and Wave Agent but haven't heard any other reports of it not working on most recent OS. Suggest trying again to get it on your Mac. Will

Interesting! You learn a new thing every day

Hi, Yes, you should be getting a signal on both headphones. Pilot tone can be used (for more stable reception) on BOTH transmitter and receiver if they are of the same series (G2, G3, 2000 etc). Switching it 'on' on one of them will stop reception. 'On' on both will be fine. You should be hearing the mono signal from the transmitter in both ears. I suspect the problem is either at the receiver's physical outputs or the headphones themselves as everything else you are doing seems 'sound'. Try another IEM or headphones. I cannot see how it could be anything else in your setup. Will

Of course. Here's a link to the Sound Devices Wireless (ex Audio Ltd) Facebook group: https://www.facebook.com/groups/audiolimited

Hi Donald, What's your power setting on the Audio ltd? I worked with a mixer that used A10s on the poles and only occasionally put them up to Medium from the Low setting that we had set 97% of the time. Sorry if this is not the problem with you but I thought I should mention it. *Different to your setup, he has separate antenna for Boom and talent radios choosing to remote the A10 RX with it's whips (antenna) but I do not believe this was due to any interference.

Thanks for the heads-up Barry. The pictures on the NoyzBoyz website seem to be of the 2nd version not the X but I really do appreciate your post. I have an 888 that I'm really not happy with squeezing into the Stingray SmallX - I fear all cables on the side will need to be right angled, and quite frankly, that's not practical in my view. Will

One major problem with using the X touch on location is its AC powered ONLY ... no 12volt option. Someone could make some money offering a 12v mod for this device ... but how much when the price of the original unit is so low remains a question.

Hi Mark, I've found the following Facebook group a great source of info on the 8 series and recently saw a discussion about the X touch there. I hope this post is ok Jeff - with link out to Facebook. If not please remove thanks. Sound Devices 8 Series Mixer-Recorders https://www.facebook.com/groups/2147596985533031 Hope it helps, W

Sounds like you are looking for a Sound Designer to recreate an unnatural sound if I understand your question correctly. There may be some members on here that know more about this role, and expected rates, but it would be part of the Sound post production team. Will

Take a look at this from Hawk Woods. https://www.hawkwoods.co.uk/Sound/P/APD-PS I'm not sure of current availability at your local but these things do exist. WP

The Filmtech LSP4 was my first mixer and indeed sounded great with a few advanced (for its time) options such as the linear fader module. Doesn't it have direct outs on the 4 channel inputs? maybe unbalanced? Martyn of Filmtech now runs the Soundkit.co.uk dealership here in Cardiff, Wales. I found this 302 for sale at a reasonable price on BBlist .. for what it's worth. https://www.bblist.co.uk/item.php?item=75331