daniel

It's one of the first products SQN made back in the 70's (when they were based in soho - read up on their website). iirc it was designed to be used with nagra R2R recorders (possibly SN). I've considered buying a BD1 several times over the years but somethings have put me off. If a modern equivalent had a built in lithium and 2 O/Ps (1 pre, 1 post fade) I think it could be very versatile device as it could be used with a RM and small recorder (eg tascam DR10x), or used to send a pre fade iso and a post fade mix element to a bag recorder. When I made the suggestion to SQN I also mentioned a monitor selector that could give combinations of direct from device, return from recorder and another from a camera (something missing from a few of the new mixer/recorders on the market). I very much believe SQN analogue limiters have something to offer the world of digital mixer/recorders but we probably don't need to carry around more than 1 or 2 because the rest of the tracks/channels are coming from RMs. Yes, I would drop the cash instantly for something that did most of these things because it would be great stand alone device as well greatly improving the usability of recorders like the Zoom F8, Tascams and even R4+ (which incredibly wont ever have a camera return).

work the null, a sympathetic frame line , cs3e (or similar) for contributors (if you can't lav them), a lav on the presenter / in frame interviewer so you don't get caught out swinging / pitching (wide) between the 2, body blocking, show the source of BG noise. coles lip mic , etc.

I was thinking of a new version of this: Ie. with a fader, meter and SQN's 'levely' limiter.

SQN quality single pre-amp and limiter as an analogue accessory for all these dsp based mixer/recorders. if its boom mountable even better, maybe with a pre and post fader O/Ps.

Ah, now i see the project is a narrative (not a doc) some of my earlier post may not apply. You'll probably be in shore when you can and have a support vessel and crew?

As much of the following as you can get: ~ Rental gear. ~ A recorder that can be sealed in bag and operated from a tablet Eg. Zoom F8 (Ortlieb make some bags that could be good for this). ~ A quick way to remove the kit from your person (in case you go overboard). ~ Spray the Rycote with water repellent. ~ Wireless boom will save you from breaking into sealed recorder bag with a XLR cable (you may have to for headphones). ~ Don't bother with umbilical. ~ Some fresh water to wash things down before you open them up Eg. the Aquapacs you put the TX (if they are getting wet with sea water). ~ The longest lasting batteries you can get - to reduce the amount of times you open things up. I was filming a salvage operation in the med maybe 10 years ago in October until the weather got too bad Eg. force 9, waves breaking over the entire 30 metre survey ship and sloshing up and down interior corridors. I was not totally convinced of the 'Health and Safety' practice on board and elected not to follow the camera operator down the ramp with the sound kit - on that occasion nothing happened but he did suffer a career changing injury while on board (and we weren't even filming). A boat big enough for only 4 people will be quite an 'experience' (something akin to what 1000s of Syrian refugees are going through) - my point being don't let anyone talk you into something stupid.

800 euro could probably get you there as you don't need a long or fancy boom pole, and while you look for the bargain 'M' mic you could hire some of the different options - have a listen. On the other hand here's another option (a friend of mine paid a lot more for one of these than this btw and you wont want to booming much dialogue with it. ): https://www.bblist.co.uk/item.php?item=42572 If you are looking for a stereo system using components that can be re purposed for mono dialogue capture you would need to factor some extra expenditure eg a better boom pole, mono rycote and suspension (you could easily spend €1000 on just those 2). Of all the mid mic options you've mentioned and because dialogue capture seems to be a factor as well, my preference would be the 50 but i've not used all the options mentioned and ymmv.

This is a good deal as it includes the blimp. It makes the heart of an MS system, you add a an mkh 8040/8050/50 and pole and still be under £2k.

Less is more (except when it comes to pay :-). I know you don't need my advice with this matter Vin but i can relate to the issue. ~ Send a rate card, they'll work out the rest (or not) - no opinions or (other) positions need be stated (by you). ~ If the rate card doesn't scare them off (from making another derisory offer of employment) tell them you pay yourself more than that NOT to work and they need to send you the itemised budget if they want you to consider being an investor. There is something unusual going on in her correspondence though. Eg. Why would she bother responding and extending a dialogue which is clearly going nowhere. To taunt you? Or seduce you onto set with more pearls like, "I know that there is no magic button that fixes over-modulation"? If she or her producer were half as good at their jobs as they expect Vin to be, they would have a budget and they wouldn't need to waste everyones time trying to get skilled people to work for small change and crass lip-service. I'm probably over thinking this as i've just watched 'That Obscure Object of Desire' but there is something about this that resonates with the themes of this film.

Not necessarily a more humble set up, although i don't preclude that either. I know my friend the The Immoral Mr Teas (jez) who posts on this board, uses sennheisers from 815t to 8040s but also uses high voltage b+k 'precision' pairs and others besides. There are 'dumby heads' and the soundfield mics (which I doubt many have tried to do dialogue with even though they fit a blimp) and similarly the sennheiser esfera system. I believe folks have used contact mics for recording very quite sounds like ant footsteps (not what you asking about I know). Its great to to experiment with different techniques (in a way I find hard to justify in my general working practice). You were of course asking about a blimp set up so I don't think you'd regret having the mkh40/30 rig engaudio suggests for the coincident, low noise, easily blimp-able, weather resistant and high resale reasons he puts forward. It just seems from my side of the fence, having a diverse range of techniques and kit is part of the fun, development of your library/showreel and potential marketing of your skill set. I would save some money for a modest boom pole as well, even if you're not doing dialogue - it's a lot easier to avoid your own noise than when holding the pistol grip in hand, even better to have a stand and save your arms. d

Not got the know or the how but keen to ask the question: g3 and g2000 sennheisers have an adaptive diversity system that uses the output lead as the second antenna - is it possible to add an sma connector to this part of the system instead of/as well as the other antenna and would it be effective? thanks, dan.

If you are not recording dialogue on a shoot with cameras and numerous other people and equipment involved i think you can afford to experiment a little more than you would otherwise. Any issue with equipment on shoot as i describe would be very expensive for the production (and career) so we are duty bound to have the most reliable kit available and redundancy on top. That is not to say field recordists of ambiance, spot fx etc have time to waste but i think the pressures are different and for someone starting out in the area you are, there may well be merits in developing your own techniques, methodologies and kit choices. btw loved your work in 'Adaptation' (not the quite the same spelling i know, but i couldn't resist :-) atb, dan.

yeah. and the boom op had no lines :-)

Iceland uses geothermal (expressed in kgoe) so their usage has little environmental impact. Less so the rest of us.

i like this. i was recently interested in energy consumption per capita.

Disappointing not to have the wifi functionality of the dr-22/44. Also this is TC in only so no way of being the reference for when not attached to a camera.

So maybe we see a few other prosumer products with TC.

Looks like time code has got a lot cheaper to implement, great. But why the hdmi - this is not recording picture?

From what i've read, it seems Sonosax asked for a face to face verbal discussion, Zaxcom wanted an email 'meeting' with everything in black and white. 1 of these options creates a litigious atmosphere, the other option suggests a desire for a gentlemanly sounding out.

'A street cat named bob' is being filmed on the estate where i live and 10 metres away they are resurfacing the road - I'm 150 metres way and can hear the pneumatics in every room in my flat!

cool camera accessory on the right, a kickstarter all in 1 gimbal stabiliser cooling fan? very disco.

and something else in between: http://www.fostexinternational.com/docs/products/AR501.shtml Given how much production sound has been recorded in mono with a decent condenser mic on the end of a pole i think it's incredible no one has yet made a small recorder you can plug straight into the bottom of 416 or other phantom powered mic. I look at the tascam dr-10x and wonder how much bigger it would need to be to have phantom power and wifi (will there be a dr-10x mark 2, Tom?) I don't really want to buy another mic (NTG4+) just to work with dr-10 so i've been looking at small phantom power units as well (but its not an ideal solution :-(.

I think these have similar: ios based - Jo Coe, cantar x3, zoom f8. Browser based - sonosax r4+. Windows based(?) - zaxcom.

+1 And despite all the other very sophisticated TC boxes (tcb/ambient/tentacle etc) no one is doing a lightweight 1 box (each end) solution for sending a scratch track and sync to other departments. There is of course zaxcom ERX which is a great product but the 'zaxnet source' part of the equation makes it an entirely different proposition, imho. d

i think the TMX system can be powered externally: • possibilité d'alimentation externe 5V-8V d