Karri

DPA mics are great (right up there with Sankens) and have a system of interchangeable connectors, including an XLR one. However, for the price of one DPA mic and one adapter you could probably have the whole 4 hardwired OST's...

Cheers. I already sent a mail with the serial numbers and a general question if they know of any improvements devices with those serial n/o's should have.

I just got 3 sets of LR/LMb. I've been using the green Varta 2600 mAh rechargeables but while they fit fine in the LMb, they seem to be too big for the LR, I can't close the battery door reliably. I already ordered battery eliminators for them, but just in case can someone recommend rechargeable AA's that properly fit inside the LR's?

The 800 band Sennys also have another 2 MHz wide free slot in the upper range. Someone doing Sennheiser maintenance can do a firmware update to your Sennys that only leaves the allowed frequencies selectable, making them totally legal.

No experience but... I was just weighing between this and the Lectrosonics L series. The Wisy set had going for it great battery life and frequency range. But then I realized (on jwsoundgroup, of course) that the transmitter doesn't have input limiters. So the Lectro way I went.

Judging by eye the diameter of a 4060 with the grille on seems to be around 3/4 of the diameter of the metallic part of the MicroDot connector. So this might actually be wider but of course more... Slim.

Cheers! Looks like premium product, premium price.

Anyone have any idea of pricing yet?

They market it as "camera receiver", but they mention a panel for cameras without audio slots, that would enable using it in bag/cart. http://en-us.sennheiser.com/news-a-world-first-sennheisers-new-ek-6042-two-channel-camera-receiver-works-with-both-analogue-and-digital-transmitters

Here's their intro video for the plug-on. There are actually some rather smart design choices, like the Tx also having a 3,5mm input for a lavalier, and being able to powe itself from 2 AA's or a Sony NP-style camera battery https://www.youtube.com/watch?v=KYNwgpFpjXk&feature=youtu.be

The HD25's are my go-to headphones for location sound. Still, I really wish I didn't have to nudge these connectors on every gig, sometimes several times.

Interesting. Are there significant differences to the character of the sound between the 8040 and 8050 or is it mostly just the tighter pattern of the latter? I'm in need of an interior mic but am wondering if an 8050 is a mic one could also use as an allrounder for documentary type of situations. My current main mic is the Sanken CS3e which mostly works great but in some unscripted situations where the talents are further apart the pattern is a bit too tight (and the mic a too long for some indoors situations) edit: by allrounder I mean something that would work for most of the time, and I could pull out the CS3e for those situations where the mic's uber-rejection is required.

If memory serves me right, anchors of the Finnish Broadcasting Company only have one lav, but they have several Schoeps CCM mics (painted white) on their white desks as backup.

I bought mine last fall, maybe the stock was old. Got to check with my local store.

It would be interesting to see how gel would work. DPA's own concealers work fairly well but out of the three I've bought, two have cracked in the middle.

That crackling isn't an issue only with Rode. I've also had trouble with Remote Audio connectors on G3's.

I just watched this yesterday. Great flick, wonderfully shot. It was funny, earlier I had suggested Team America (jokingly since my girlfriend has repeatedly said no to that, saying she finds the puppets creepy) and Whiplash. Team America involves acting, Whiplash drumming, and Birdman had a lot of both.

How about two systems as a 2-channel hop? Have they specified how many systems can be expected to work at a time? Also, are there any input adjustments on the transmitter or is it all with that auto-leveling system they were advertizing? Wondering if it takes line input at all or if you have to attenuate if you were to use it as a hop.

Sure you did, it was in the spring. I decided to wait for a bit at that time.

Indeed, cool little site, Mikko! I was looking at these mics earlier and even sent you a reddit pm, mrkva! Looks like I'll be shopping soon!

I have to wonder about the windjamming capability of just the SuperShield basket (without furry) compared to the S Series fur basket, since for me the beauty of the S Series is being quickly able to attach/detach the fur components with a quick twist when moving from outdoors to indoors on a fast-paced run n gun shoot, and not worry about wind unless it's a particularly windy day/location. Pulling on the traditional dead cat always takes some time plus compared to the S Series it's one more piece of equipment to take care of when moving indoors.

You could probably stay under $2000 by getting a Sanken CS3e and a Rycote S Series windshield. It can't handle the highest wind situations but when it's too windy, I just throw another fur over it, works great. edit: nooo, seems the S series has been discontinued... don't know why, it's super handy and works like a charm.

It went fine. I had the limiters on my Nomad down but with a fast release. Turned the boom all the way down during gunfire, and even got some semi-usable gunshots. This is a reality show with ENG style shooting so gunshot fidelity wasn't exactly a priority anyways. And got to fire a gun, woo! Only a .22LR, the talents went all the way from .22LR to (I think) a S&W .500 Magnum revolver.

Ha, I was recently doing some recordings of single orchestra instruments for education purposes, and some of the players were very worried that my dialogue mic might be for the instrument, apparently some recordings with... unorthodox micing positions had been made some point. It'll be interesting to hear the end results for that project after it goes through post, though, since it was done in a training room with not much space due to set setup, lighting etc.

It's been a while since I did any orchestra recording. As I was constrained by the budget to basically work with the two Shure SM81's, I put them in an ORTF'ish configuration (couldn't do a perfect placement since the mics are so long) and found a good spot for them in the church the concert was held at. So, not a full orchestra, but several pieces with varying configurations of players and sections. Anyway, the musicians seemed to love the sound, however it was only later I heard that the webcast I was doing the recording for was put out in mono... ORTF downmixed to mono might end up with some phase issues, some loss of high frequencies etc. But the technique is quite wonderful for this kind of thing when listened to in stereo. So I think the benefits outweigh the possible downsides. As far as setting the mics wider or narrower... well, the angle probaly wasn't set at 110° to ensure maximum mono compatibility anyway. I think this is very much one of those "if it sounds good, it sounds good" questions. You will pick up the center players just fine if your distance is in the right ballpark.