Karri

After moving to DPA lavs, I have relegated one of my Rode lavs to mostly video game/Skype mic status (it has its uses in the field as well, every now and then) so it's constantly plugged to the interface right in front of me, so I did a quick test to be extra sure! Twisting the mic in every direction while keeping the end of it at the same point produces almost no signs of any kind of directivity, just maybe the tiniest bit of high end dropping out when the mic is facing in the opposite direction.

It's an omni. Maybe someone more knowledgeable in mic engineering can chime in, since pressure gradient implies directivity? As for the Rodelink, it read somewhere that this is just the first product of a range of wireless products. Who knows, maybe another one might be a 2-channel transmitter + receiver for use as a wireless hop? Plastic or not, it would reside in two arguably fairly safe locations - in your bag and on the camera. So then it would just be down to real-world performance and sound quality. But yeah, after seeing a 2.4 GHz system for transmitting picture with fin antennas and everything manage something like 10-30 metres (in the middle of a forest), I'll certainly interested to hear reports on how close to their claims they get in real-world situations.

Just some random Youtube-videos that might give you an idea of the sound:

Interesting. Were the talents facing the same direction? Were they of similar physique, wearing similar clothes? If the Senn compander was doing something funky, you would hear the bg noise come up as the person spoke, would you not? Based on all the info I would just guess that the guy's body somehow dampened more of the noise and/or he spoke just thst much louder?

Stop staring, respect tradition!

I now have the settings as -10 dB on the Nomad outputs, -42 dB on the TXs. A full-scale tone triggers the AF peak when it's set on, but the peak indicator turns off right after. I'll try and do some fiddling with the Nomad output limiter as well. I now have the settings as -10 dB on the Nomad outputs, -42 dB on the TXs. A full-scale tone triggers the AF peak when it's set on, but the peak indicator turns off right after. I'll try and do some fiddling with the Nomad output limiter as well.

I just set the transmitters to -48, a setting where repeated taps on the boom mic didn't produce the AF peak light, while Nomad's limiters were working hard. Seems to work fine, I was just thinking about the optimal settings for S/N.

Yes, another "confused with G3" question... I recently bought two Sennheiser CL-2 "line cables" (as the product name says). I was under the impression that using these would let me input a line level signal into the transmitter, yet I find I would have to bump the transmitter sensitivity down to -51 to prevent the AF peak from lighting when putting out a max signal. Was I mistaken? As it is, however, have I understood correctly that to get the best S/N ratio out of the G3 in a hop type situation would be to attenuate the input signal from the source (I quickly checked - Nomad allows a -10 or a -35 dB attenuation on the XLR outs) and raising the sens of the transmitter? The -35 dB attenuation allowed me to raise the sensitivity to around -21 without the AF peak lighting up except very intermittently when tapping on a mic and hitting the Nomad limiters. Thanks.

I think it was the 2320. I bought one of both just in case, and it was the bigger of the two.

Battery changed without a hitch, cheers for the info! Though for some reason I now have an urge to replace the one-piece chassis with a custom one. Lacquered wood? Surgical steel?

The Rode tube for an NTG-3 is rather wonderful. Provided it doesn't get mistaken for a pipe bomb at the airport.

I remember this being in a topic earlier but couldn't find it or succesfully google the correct battery model. Glad to see it here now, as I have the same issue!

Great post, exactly what some of us were hoping to see! Tack så mycket! But yes, it's a bit disappointing. I normalized the two unprocessed tracks, then compared with meters, and then cut noise loops and bumped up volume in identical amounts. The Sony system seems to have a lower noise floor. However, the actual dialogue sound on the Sony seemed a tad more dull and unnatural somehow, and the range either didn't give any real incentives on choosing the UWP-D instead of the G3.

So you would say that in a bag they work about as well ad the Senns? Also, I don't think many folks here are seriousmy looking at either this or the Senn system with the idea of working with the stock mics. This is why I'd love to hear an A/B with this/Senns with a Sanken or DPA capsule. Thanks for sharing your experiences!

No one with any hands-on experience with these? I'd love some A/B sound quality samples compared to the Senn G3's for instance (with same model mics of course, like a Rode or a Sanken). The guy on a bike without wind protection, talking about the rejection of the (omni) mics doesn't quite cut it. One shouldn't expect too much, but if they sound any better than G3's, have a comparable range, that'd be useful info since they're priced about the same.

I have two, both are broken now. When I attach the capsules I get no sound. If I twist the capsules ever so slightly I get sound. So something's cracked/gone wrong on the base end of the pins. I'm wondering if there's any way to get the pin base open since it's glued shut. Maybe if I heated it.

I came across these just now and thought I'd post it here since it seems it's a fairly new thing judging from the Youtube video date, maybe some of you are into nature recording. Or industrial espionage. Mic demo: https://www.youtube.com/watch?v=LKOaumJGC48 Website: http://www.wildtronics.com/ I haven't looked into parabolic mics much. This one seems to have a freq response of 200 Hz-20 kHz.

Christian, yes I have indeed noticed they are a bit lacking in the high end when hidden. For some gigs I am now stuck with either them or rentals though, since I'm having trouble with the TL40 connectors and my Senn G3's. I am mostly stuck with the Rodes now until I either send the TL40's for connector switching or get some Sennheiser connectors and switch them myself. I have however gotten good results with the Rode Vampire clip, mounting the mic so that it's close to the edge of whichever piece of clothing it's attached to, so more high end gets through. This doesn't work all the time of course, and the concealers would of course give more options.

Thanks for the tips guys, I will look into these!

Hi, I was thinking about plastic/rubbery lav concealers such as this DPA one: http://a248.e.akamai.net/origin-cdn.volusion.com/b3o4z.gn3gt/v/vspfiles/photos/9999-13614-2.jpg?1362991732 Currently the lavs I have are Rode Lavs and OST TL-40's. Does anyone know of lav concealers that work well with these mics? What about these quieting sleeves, anyone tried these and what did you think about them? http://www.bhphotovideo.com/c/product/417402-REG/Garfield_SGARHL_Hush_Lav_Lavalier.html Thanks!

*** if you haven't seen the film, there's sort of a spoiler in my text) I saw the film as the opening movie of the Night Visions film festival here in Helsinki. They started with horror/scifi films and have now expanded to also include different genres (as long as the films are, to quote the festival site, "proper") , some of the more known films this year being Gravity, Filth, Don Jon and World's End. In any case, Gravity most definitely worked for me. It was a 3D screening (No IMAX theatres in Finland, unfortunately) and it was glorious. Thrill ride films such as this, or, say, horror films rarely elicit any strong reactions in me (excitement, anxiety etc) but watching Gravity I found myself pushing my back to the chair, maybe even sweating a tiny bit. So it was great! As for the sound, I really liked that as well. Panned dialog? Absolutely no problem for me, aesthetically. I suppose it would annoy me if I perceived the sound as coming not quite from where it was supposed to come from, due to some technical reason. It all worked fine in this screening, though. LOVED the approach of any sound mostly (only?) being heard through touch, to simulate the fact that the materials of the satellites (combined with the air in the space suit) are the only mediums around to transmit sound. It reminded me of that nerve-wracking scene in 2001 with the little spacecraft and only the sound of Dave's breathing. I also loved the score, it's probably one of the most intense ones I've ever heard and for sure played a part in the film putting me "on edge" more than films in general tend to do. Bonus points: Haven't been that much of a fan of Sandra Bullock, but I think she does quite fine indeed here. And all this wonderful entertainment in 1 h 30 min, a wonderful length for a well-done film. If you ask me, all that was missing was just a few words more for Bullock's monologue on the (AM?) radio. She tells the non-English speaking guy on the other end that she knows everyone dies some time but that it's strange to know you're going to die today. I would think it's even stranger to know that you're going to die with the closest person to you 400+ km below you or even further away if you're over an ocean at that point. Though maybe her not pointing that out to the guy who couldn't understand her in any case/herself was part of the, hm, detachment? she felt due to losing her child. Anyhow, enough gushing for now, let's just say that for this particular sci-fi and space nut, it was a near perfect film!

Thanks for the explanation on why higher sampling rates might be of use even without ultrasonic stuff you might want to get to the human range of hearing by pitch shifting. A bit embarrassing since I should've been able to deduce this but didn't think enough!

Pretty easy, too, since it's so close to "come on"! Though after flying to Thailand from Vietnam had a bit of an embarrassing moment when a waiter brought my food and I thanked him in Vietnamese... I hope he knew the word instead of wondering "Come on? Why? I was already next to him"!

The added resolution might give better results when shifting down, yes, this however depends on two things: 1. Does the sound you are recording have any useful information past 24 kHz (the highest that a 48 kHz file can go)? 2. If yes, can the internal mics of your recorder capture anything past 24 kHz? Even the Nagra SD seems to be only specced up to 20 kHz, so if I were you I might save the vard drive space. However, I don't know whether or not a mic specced up to a certain frequency response might pick up information above that as well. edit: or does pitch shifting a 96 kHz sound give noticeably (subjective of course) better results than doing the same for a 48 kHz one, whether it has high frequency ino or not?

The same - I've only ever had the one, but I would expect more phasey things with a 416 than a CS3e. Could the waves have sent water spray into the mic? Well of course you would have a blimp...