VASI

I am feeling lucky to have born in era without Facebook or any social media, not even internet was known to me. And I am feeling double lucky when internet - social media was not like this as today; where everyone was kind to each other. That's why I am really appreciate the JW Sound Group. When I was started, was extreme source of knowledge and I am really appreciate that the same people is still here. And the best part is that somehow we developed production sound techniques via sharing experience - knowledge - try & error and from the other hand, we, somehow pushed companies to develop new tools and technologies.

Hi all, I saw it the other day, Audiosense offering the MTP60-EUX and MTP61-EUX which going up to 100mW. Is there any change to EU regulations regarding mW and if yes, which country allow higher than 50mW? Thank you

Thank you for sharing @Tong0615!

Very nice! Thank you for sharing!

Thank you for sharing! 🙂

I think it is important to separate what type of projects someone is doing, before we start to analyse the pros and cons for CMD 42 and recorders in general. Is it reality? Is it feature film? Is it documentary? Is it field - atmos? As Schoeps wroted - said; CMD 42 is not meant to replace something of what we know (and use). In my world, which is feature films and television drama; the POV is about dynamics and the handle of it. Is about "matching" the frame correctly. Ironically, the industry has been pushed - forced; the production sound dept. to run everything wireless; so mic preamps make less sense (in recorder) and as back-up feature. And here comes about "dynamics", and the problem with current workflow; where you have to manage the distance of the mic position (aka the boom operator), the mic preamp of transmitter, the trim and finally the fader (which end in director headphones or to the person which pays you). Word: "Breath". The main advance of cable from boom to recorder with mic preamp is one: Mic can "breath", Production Sound Mixer can handle the dynamics much more better. As Jeff Wexler said before, here, many years ago; the trim and fader becomes - act as first stage of compression. Now the "trim" has been far away from mixer hands and live in a boompole (eg. transmitter). The feeling of touching the trim and reaction, has been eliminated (in some way). Form of Art the PSM work; which nowdays is more about logistics aka "do you have 16 wireless and wire them all without a reason; because maybe will have a line, maybe not; just for sure; we don't know" without knowing the departments outside from PSD (Production Sound Department) why we will need a wireless lavalier even without spoken dialogue. And everybody knows - feel what I am talking about "dynamics" during a scene and what's the cost of: 1. Boom hardwired to recorder. 2. Wireless Boom - Managing multiple "steps". Even if you are a Boom Operator. So, the question to me is: Can the CMD 42 deliver the same sense of dynamics, minus dealing with the "compression" because from soft to loud (and vice versa) is a thing which the post production deal (with speakers, not headphones; in theatre) and hear our mistakes (aka mic position - mic preamp setup in Tx - trim and fader position) in such scenes / frame; where two (or three) persons "dancing" (aka PSM & Boom Operator -s)? Pretty sure, Simon Hayes can speak about it; since it was a beta tester; if it's still here.

Nice!

Inspiration coming from everywhere. Haha

Happy Birthday, Jeff! 🤩

Bubblebee Industries - The Windbubble Pro https://www.bubblebeeindustries.com/collections/the-windbubble-pro-1/products/the-windbubble-pro Video from Gotham Sound

==== Manual https://schoeps.de/en/knowledge/manual/cmd-42.html

Shape has a new one from NAB https://www.newsshooter.com/2024/04/16/shape-power-station-15000wh-basecamp-first-look/

Voice Technologies VT403W Lavalier https://vt-switzerland.com/en/products/lavalier-microphones/vt401-403-series/vt403water/

Wisycom Updates & MTB60 Rumors Video from Gotham Sound ==== Sanken New Lavalier Development Video from Gotham Sound