Karri

Recently I've been loving my Sennheiser HD650's - or actually the "Massdrop x Sennheiser HD-6XX", a group buy version from drop.com. I think I paid $215 incl. shipping, a rather nice saving. Don't know how much they are now.

Nowadays I hide maybe 95% of the time, even for reality/lifestyle type stuff. It's most often asked for over here, and working in a small language area with small budgets it seems like one natural way to promote the advantages of hiring a sound person (smaller shows over here might just send a camera person with two Sennheiser G3 sets if the scenes they're doing for the day only mostly involve two talents). Of course, sometimes clothes rustle does make using hidden lavs impossible, even then it's often boom time instead of a visible lav + clip.

Pretty sweet I say. Now a 6 is great for both ambisonic recording and a lil backup/light doco recorder.

I think it's the same wiring as for Sennheiser 2000, SK5212-II etc, if that helps?

First the general feedback: I'm not sure if you've realized, but this is a forum frequented by professionals who record things like ad spots, corporate video, reality TV, documentaries and feature films. While many of them might also have recorded an instrument or two every now and then, questions of this sort might be better suited for forums like Gearslutz, where - apart from the Post-production section - music is the focus. Now, as for your other inquiries... While the Behringer mic might be ultra-flat, it doesn't mean that the mics on the Tascam necessarily have a wild frequency response curve. However the Behringer is omni so in another kind of space it might sound very different. The Tascam probably sounds more pleasing to you since it's stereo, so it'll also capture a space more "lifelike" than a mono recording. And finally, why do the mixed recordings please you more? Well, I've recently noticed American youngsters on YouTube every now and then use a catchphrase that I think goes well here. It goes: It do be like that sometimes. Instruments are often recorded with several mics (for example close mono, mid stereo, room stereo) etc for this very reason.

Rycote Baseball maybe? Not sure if it'll have enough protection, but it might be smaller than a softie. Other than that I think you might be going against the öaws of physics here. You could I guess try a regular teardrop and then add some Schoeps wraparound furry on top of that, one of those they sell for something like the Zoom H1.

Great to hear, as I already have some Microdot 4060s. Cheers!

The transmitter only outputs 3.3 V though, according to the specs? So wouldn't this rule out the 4060 for instance? Or am I missing something (I'm not the most electronics-savvy I'll admit)?

Which mics will be compatible with this? DPA probably, but only low voltage ones?

Was there any word on price?

There's already a 5-page long thread on these.

That would require a separate Bluetooth transceiver, so unless these have one I don't think it will happen (WiFi wouldn't work as they said the units aren't using the WiFi protocols, they're just in the same frequency space). Personally, I wouldn't be switching the names up much, as I'm maybe mostly interested in this thing as a camera hop. Sure, why not as a supplemental pair of talent channels as well, but mostly as hop. I'll be interested in seeing some real world range tests and some nice sound tests, like the same signal driven through a mixer into two channels, the other wired and the other through this system, into a recorder and then compared, with dialogue, key chain test etc. Also it'd be cool to see one opened up to see which type of batteries they use and how easy it would be to eventually self-service a new one into them.

Found this Youtube interview/demo on these: https://www.youtube.com/watch?v=DSWv7NOZtYM

If the sound quality is good this might be rather nice for a light (well, and affordable obviously) 2 channel ENG camera hop.

Still no more opinions/comments on this mic? Can't seem to find anything new on Google or Youtube either.