VASI

My vote go to Sanken CS-M1

The link does not work.

Nice addition. Approx. 8h with 10mW is without the MTP-XL-KIT; they say 16h with MTP-XL-KIT. I am expecting real-life world performance around 10-12h with 50mW which is not bad; if you consider that you can turn on-off via app.

Hello, We had some news regarding Aaton today and Atomos. Atomos Enters into Agreement with Club Cantar 6 April 2025 Las Vegas, Nevada — Booth #SL4828, NAB Show 2025 Atomos has announced a partnership with Club Cantar to provide ongoing repair and maintenance support for the legendary Aaton Cantar line of professional audio recorders. Aaton Digital, based in Grenoble, France, was founded in 1971 by the visionary engineer Jean-Pierre Beauviala, whose passion for film and sound innovation left an indelible mark on the motion picture industry. From the outset, Aaton became known for its radical and ergonomic “cat-on-the-shoulder” camera design—crafted to sit comfortably on the shoulder for intuitive handheld operation. Jean-Pierre and his team introduced a host of industry-first innovations, including the AatonCode timecode system, which embedded timecode directly onto film to dramatically improve audio-video sync in post-production, as well as built-in video assist, allowing for real-time monitoring during shoots, and quick-change magazine systems that minimized downtime on set. In 2004, Aaton launched the Cantar-X, a multi-channel digital audio recorder designed specifically for on-location use, which quickly became a favorite among professional sound recordists for its superb build quality and ultra-low-noise preamps. Aaton also developed the Penelope and Penelope Delta cameras—35mm systems with native 2-perf film transport, the latter incorporating a Super 35 CCD sensor and an optical viewfinder, bridging the worlds of digital and analog cinematography. In later years, Aaton continued to develop high-end audio products, including further refinements to the Cantar series. Beautifully engineered and unmistakably unique in design, the Cantar recorders set a new benchmark for field recorders. With their low-latency architecture, ultra-low-noise preamps, and intuitive interface, they were as technically brilliant as they were iconic. Sadly, Aaton Digital went into liquidation in early 2024. Atomos stepped in and acquired all the assets of Aaton from the liquidator, including the full product range, associated intellectual property, and all remaining recoverable spare parts and components. Atomos recognised the profound legacy of the Aaton brand and sought to preserve its history and value to the industry. “I have always admired the innovation and craftsmanship that Aaton represented,” said Peter Barber, Chief Operating Officer at Atomos. “Throughout my own post-production career, Aaton equipment was essential to the highest-end workflows—from telecine, SoundSync, and all the way through to online finishing. I’ve always had a deep personal respect for what the Aaton team built over the years, and I’m extremely proud that Atomos has acquired a brand that has been so influential in the industry and delivered such remarkable innovations—which is why it was important that we had to save the brand and the technology. The Cantar recorders are widely regarded as some of the finest professional audio tools ever made. It was important to us to ensure they remain supported and usable for the many professionals who rely on them.” To that end, Atomos has entered into an agreement with Club Cantar, a new service organization established by Gilles Deshays, a respected technician with decades of experience servicing high-end audio equipment. Supported by former Aaton engineers, Club Cantar is dedicated to keeping Cantar products alive and operational in the field. “The Cantar is more than a machine—it’s a beloved part of the filmmaking toolkit,” said Gilles. “With Club Cantar, our mission is to extend the life of these recorders and honour the spirit of the original Aaton team.” Under the agreement, Atomos will provide Club Cantar with spare parts and access to the technical information necessary to support the continued service of Cantar devices. “We see the Aaton Cantar ecosystem as an important and meaningful addition to Atomos,” added Barber. “We’ll be looking to take advantage of that incredible legacy and feature set in future products. But, just as importantly, we wanted to make sure that the loyal Cantar user base continues to receive the best support possible. Through our partnership with Club Cantar, we’re proud to help extend the life of these iconic recorders for many years to come.” We encourage all Aaton Cantar owners to visit clubcantar.com and join the community. By registering, users can access the support, parts, and technical resources they need to keep their beloved recorders in top condition and operating for as long as possible. Source: https://www.atomos.com/2025/04/06/atomos-enters-into-agreement-with-club-cantar/

Hi, I am not sure if has been posted - discussed here, about WMAS (ie. Wireless Multichannel Audio Systems). I have read recently the article from IATSE 695 Production Sound & Video Magazine and found it interesting to share with the community here. Link: https://www.local695.com/magazine/wmas-next-generation-wireless/

MKH 50 is great "outdoor" microphone, to be honest.

Hei @joshneal, In what direction - solution you have choose?

I don't think the first generation of wireless from DPA; targets film and television industry. More like, live music performances.

You have a bright star to follow you, Dennis. This is an excellent opportunity for you, LA Sound Mixer event. 🙏

Build a network. The next job is coming from someone which gave a recommendation for you to the other person. That's how the industry works, no matter which continent. - Don't be an assh*. - Don't speak loudly. - Be reliable. Don't say words that you can't fulfill. - Don't speak - disturb when the director and actor communicate. If you want to say something, say it later or go out from set. - If the battery on wireless actor is empty during recording, it's your fault as an assistant. Professionalism, Communication, Anticipation, Composure, Concentration, Teamwork, Work Rate. Technique is a long term project. There would be times without the phone ringing, happens to all. Don't panic and good luck!

I can't find a reason someone not wearing headphones while working in sound department, especially the first assistant (ie. boom operator), where only four (or six) pairs of ears actually hear. Seriously. Especially in 2025 where mixers - recorders has private line and boom microphone can be routed pre-fade in an output. I cannot imagine a PSM comes to set and start talking while there is a communication between director and actors. This is basics.

It's their first time, so I can pretty understand that there is no receiver like MCR54. Looks interesting in terms of specifications from the other hand.

My condolences, Jeff. I am very sorry for your loss.

Yes, it's operational. https://vdbaudio.com/ vente@vdbaudio.fr Otherwise, look for Ambient or K-Tek. https://dbav.com.au/ https://www.goodtone.co.nz/

I was sitting in my couch in the other day while scrolling in social media. A friend texted me saying "Hej, I have a spare ticket for tonight live concert of DeWolff". Little search, it is a band from Sweden and I thought "why not", sounds familiar with Black Keys (what a band!). So. Here the thing. In live was so much better! Enjoy it and if they come to your city, go to see them!

ARRI has been announcement a new camera, ALEXA 265. ==== https://www.arrirental.com/en/cameras/digital-65-mm-cameras/alexa-265 ==== From sound POV:

FOH Green Day : Analog Live Mixing https://www.instagram.com/reel/DAphfBfxyRy/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA== In the age where everything is automated. Respect!

In general, it's good to have alternatives. I have used many times the MKH 50 outside for scripted dialogue with good results, but not as far than 60 cm (above mouth distance) and it depends of background noise. That brings the question as well: Since it's a wide shoot and you have to place the boom high, isn't the 70% in mix (Production Sound Mixer Mix as first) will be the wireless and 30% of boom? Decisions, choices and it depends. A good start as well, is how your lavalier microphones, "married" - "match", with the boom microphones as well. Isn't only the case having a shotgun mic (a supercardioid capsule with the tube) and a supercardioid mic (like MKH 50). Then you will start to think how the shotgun mic and MKH 50 "match" together and with lavaliers. Many possibilities and it's a start of creating your ID as sound professional.

Have been used a lot of times between Rycote and Cinela as Boom Op.; I would say Cinela hands down. Cinela Pianissimo for exteriors and Cinela Osix is my favourite when PSM (Production Sound Mixers) provide to me. I have not seen - used Radius so far.

Might this helps: https://www.dpamicrophones.com/mic-university/proper-mic-hygiene https://www.dpamicrophones.com/mic-university/5-simple-steps-to-wash-your-dpa-microphone

Happy Birthday to JWSOUND! My career would have not be the same without this community; BIG THANK YOU to all of you! Best, Vasileios

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!