Michael Wynne

This interference issue between the Red Epic and Comtek PR216 has been also the case for me on a current project I'm working on with the Epic. It's only a scratch track, but was intended on being used for primary playback.. Methods I've tried are changing channels, remounting to diff position, changing actual comteks, changing channels on Red, going from unbalanced to balanced on Red. I'm using a custom cable I bought from Remote audio intended to feed a stereo 1/8th inch input on a DSLR from a PR216 comtek transmitter which is about 18" and has a built in 40db pad and am not sure of the exact wiring config. Has anyone tried a cable with an RF blocker for the receiver or had a custom cable built for this exact config that may help eliminate this interference?

This is great news ! Congrats and looking forward too it.

This is so hilarious !

Hi Arnold,

I have expeience with videos like these and have tested a variety of head set mics. Your right that thr E6's will not stay put especially with a lot of sweat and movement but Countryman does make an ear clip that turns it into a double ear around one hundred dollars that I haven't personally tested but may just do the trick. Personally I like to use the Countryman H6 when a headset is most appropriate.. It has a lower profile, sweat ring and the fit is more customizable then the E6 since the boom length can be adjusted.

When you invest in professional wireless from small business such as Lectrosonics or Zaxcom your investing not only in top of the line performance, but also the back end service from a company who picks up the phone, a company that will have a conversation with you and that will expedite your needs based on your individual situation.

We are bombarded with consumer advertising daily to have us believe that lower prices equals the greatest value. Low quality workmanship and materials, outsourcing, and cheap labor are the side affects. The worst side affect is this mentology closes small business and opens more Walmarts

Imagine if the price of pro wireless was half, are you willing to accept half the quality of service, parts and reliability? What if camera ops could easily purchase 411's. why not let the AC run sound, its just ENG right? If they can purchase the gear for less why not do it and save the production your day rate?

I enjoy telling customers, that the 411 / SMQV combo is not only expensive but one of the best that money can buy because their production deserves the best in quality. Keeping prices for top of the line gear at top tier levels and especially supporting small business is good for all !

While feeding the red epic yesterday I noticed about a 3 to 4 frame delay on the return feed. Seemed to be better on playback. Post had mentioned the same issue on a previous shoot.

Reporting in that all went well with the 633 on yesterdays shoot. Simple set up 2 wires, and 2 booms double system feeding the red epic for sit down interviews. Great little mixer, I think I'll be adding a couple SRB's and keeping the 411's on hand for more hostile conditions since they are taking up more space then I'd like in the Petrol PS607.

First gig with 633 tomorrow, looking forward to breaking the champagne bottle on the bow, 302 will most definitely be in tow.

Also thank you Jan for your warm welcome since it was my first time joining you guys this last Saturday. I really enjoyed listening to everyone and all the cool topics that were discussed. Also Jan, a special thank you for taking the time to show me some of your cart hardware configuration regarding mounting antenna masts. Looking forward to doing this again ! I also was impressed with the features of the Zoom application you use to host the hangout ! Also special thanks to Whit Norris for staying on me about joining in.

Just saw Captain Phillips last night on rental, Loved it The acting was incredible, Tom Hanks is master of his craft , the scene at the very end ( which I won't spoil ) was brilliant.

Looking forward to checking it out Michael

Although i have not done classical recordings with the 7 series and 633 back to back, I have owned a 702T and now own a 633 and have done low level outdoor stereo ambience recordings with both and although the 633 pre amps do sound good, the 7 series preamps are noticeably quieter. So if you had to choose between the two for classical recordings I would go with the 7 series recorder.

This is cool, I had the opportunity to do the production sound mixing for four of the programs on Xbox fitness, which is very cool cutting edge interactive content that is good for your health. Production began about a year before the xbox one announcement. It's cool I can finally talk about it, since it was all a big secret when it was being developed.

Update.. I just spoke to Keith in service over Comtek, and he explained to me the lack of the click is not a concern and does not constitute a defective unit or faulty repair.  He says he has seen this happen with some units and as long as the tension on the knob was decent, and there was no audible noise, there was no reason for concern.

What happens is sometimes when units are updated or repaired with the new casing the seating of the top plate could vary according to the amount of tension applied to the top knob.  He advised I not try to adjust and adjusting the tension on the actual knob set screw would have no effect.     The pot tension feels decent, and it sounds and operates at a normal level in comparison to my other units..... 

M

"So in closing your honor and jury, The 416 is a higher number then 60 and therefore better"

Thanks guys, Tomorrow. I'll see if tightening the screw set does the trick.

Thanks John and CrewC, CrewC, does your volume knob click into place with each adjustment like the old casing, or is it a smooth pot?

M

Hi Guys,

I recently had a Comtek PR-216 casing replaced due to a broken latch and the new casing I received back today was black rather then the original grey color.

I'm assuming there was a design change in color but I also noticed the volume adjustment knob no longer clicks Into place with each incremental adjustment.

Anybody have a newer style black one that can confirm this? I just want to be sure the repair was done correctly, kinda wish I had the old casing. Not so much for the color but I like the old volume knob better. Seems less likely to get accidentally adjusted and a little more sturdy overall.

I leave my return metering on so when I send tone to multiple cameras during set up I'm able to visually set the return monitoring gain level back to match on my 552 on the A/B return bus by looking at the return meter.

With return metering on you can then also use the convenient L pulse in tone mode to visually confirm that the channels are in fact being recorded and monitored independently.

This being said it's important you check your return meters are matching your main LR bus meters with this kind of workflow, especially if your monitoring camera as your main record source. I've often thought I should turn it off for this reason.

Uh... the new Mac Pro has six Thunderbolt connectors:

+1 I will use my 6 core forever now

I was doing a job yesterday with my 552 during the 633 announcement and was feeding two Sony f3's with breakout cables and monitoring both for behind the scenes interviews while recording back up in the bag which was a perfect fit for the 552. The 633 would have required at least one hop, and some sort of confidence return to pull this kind of functionality off.

And as much as i love my 302, i think i will sell it now. I often say this is my favorite mixer, because of the sound & light weight. With a hop to camera, It's a run & gun dream come true in that respect. However like many here I really wanted some sort of BU recording and more output options. Especially for a wirelss hop situation where back up in the bag is a top priority and confidence monitoring is a pain. The 633 fits this perfectly. I will also hold on to the 552 for now, eventually replacing it with the 664, but probably no rush on that one.

I think I'm going to need some therapy if it's not a mixer/recorder. I've already convinced myself that's what it is and I even caught myself telling someone all about it, and some of the features it will have .

A new field mixer / recorder, my best feature guess is.

4 pre's + 4 direct ous on ta3. 4 ISO recording tracks, L&R recording tracks, and x1/x2 auxiliaries for a total of 8 recording tracks. Ambient TC I/O. 664 / pic style menu system, 48k, 24bit, recording to sd and cf.

At least that's what I'm hopin for !

M

Just finished my first day with a 664 which was a rental on a shoot and the preamps def sound brighter/warmer then my 552/302 and its performance was flawless. As many others have said here as a field mixer / recorder it's fabulous.. The menu system and workflow is brilliant.

As far as the preamps are concerned, I must say my first impression is also that I prefer the pre's on my 552. The 664 seems to have slightly less fidelity to me. I've also owned a 702t that I've sold, and the 664 seems to sound more similar to it, but not as full and rich as I remember.

It may be just a matter of getting used to the sound and I def plan on doing some more listening in the studio rather then just headphones. This field mixer / recorder can handle pretty much anything I do, so for me it's a winner and I'll def be adding one to my kit soon !

Finally going to ge the chance to use one on a corporate shoot tomorrow since the client requested ISO's, Being a 552 owner I felt right at home getting acquainted with it today. I love the sound of my 302 and 552 pre's, so I'm interested to hear the 664 for comparison.