DanieldH

I've had more cable noise hassle with Sanken compared to the old stiffy DPAs. With modern DPAs with soft cables, things got more comfortable. However, a colleague who bought a new set in different colors together got the black ones with a semi stiff cable. All others specs where the same. I'd suggest you discuss stiffness with your vendor, before buying. PS: I never understood the target market for MKE2 (Gold) or why they added it to their evo line.

Cons: 2.4Ghz is perfect to be absorbed by water. Microwave ovens operate there. When you mount a transmitter to a human bag of water (actors), guess what happens to your signal. Pros: It is license free and therefore found in consumer/prosumer products. Most cost effective: It depends...

Maybe the board LOM uses has potential to make something less bulky.

I did... confused though, why one would buy a mini + a piano. You either want it light and small or you want the big stuff that will be usable with maybe one Bft step more. But to answer myself again, the Mini + Piano may be a bit more affordable than a 5U + Piano.

You loose 17g of weight by choosing a Mini in a Piano over a regular 5U. Thats the only difference I'd see. Or do you suggest that the mini's size allows a more favourable position inside a Piano?

The mini has a fixed 4th order low-cut filter at 70 Hz that is present, regardless if you need or want them. If you want to be able to turn it off, e.g. when you want to record low freq stuff or want to match it to a CCM8 in an M/S setup, you want the switching feature of the 5U. Apart from that, as a rule of thumb bigger windscreens are less susceptible to wind than smaller ones. Not sure if you are referring to me. I have reported that it is vulnerable to swishing noise when used with the Rycote INV-Lite 21 indoor mount. I don't think the Mini vs the 5U are different regarding swishing noise in general. However, as stated above the Piano has probably a more windshielding effect than the Pianissimo.

Here is a screenshot I got from post. More colorful than my asci art, I guess. I've talked to post again, they somehow do not feel comfortable sending project files to "some guy on the internet" or don't have the time to create one. I've asked them for some wav where the issue occures and some where it does not, so I could compare the metadata. Still waiting, but my engagement ends on monday, so it is somehow "case closed" for me. I've created this thread, in the hope someone had run into the issue before. Anyway, thanks for your help so far.

Thnx for your replies. The 788t ist set to poly.wav. Anyhow you end up with a file containing a single track, either by arming only one track or route only sources to one armed track. I talked to post again. Apparently, whenever a mono clip is added to the timeline behind another mono clip, the behaviour occurs, if the clips where recorded by the mentioned colleague (or his settings). They do not have to be recorded consecutively. The effect looks like this: https://pastebin.com/cSP5P64S

I am booming on a show where we had a sick leave cover mixer for a day, operating the shows rental 788t. Post complains now, that since then consecutively recorded mono clips end up on a new track in the timeline. The first clip on A1 the second on A2 and so on. The phenomenon occured before and was solved in the past by doing a factory reset on the 788t. However, I wonder what setting in the 788t causes this.

Is it the gamekeeper ga28? These fit a hell of a lot of batteries. Ga28

It is just a bigger "urban traveler" backpag/bag padded to host a laptop computer. You won't fit a soundbag inside. The Companion is dicontinued but ther e should be similar bags on the market. Here are some pics (and a non-english) review: http://deuterbackpacks.blogspot.de/2009/08/companion-deuter-mochila-de-notebook-ou.html?m=1

On some productions we've used trolley(ß) style Pelican cases, those with 2 weels. Züca is quite popular too. When wheels are no option, I use something like this: http://jwsoundgroup.net/index.php?/topic/11069-the-bubenzer-boom-stand/&do=findComment&comment=263903

That was me. I deleted it, as I was not sure if my questions made sense at all as I understood at that time. First of all, I'd like to express, that it seems kinda cool what you do (and that what you offer is too low to play around what it is useful for... um I haven't said this ;-) ). However this is a rather professional users forum in a niche environment of audio production, as you probably know. The humble question is, how can your products be adapted in our world? So do I understand the following correctly? The Uši/Ucho have a TA3 connector (aka miniXLR); Uši refers to a matched pair of Uchos; Uši is Slovak for ears, Ucho for louse; They operate unbalanced on a 2-10V bias voltage, one pin is blind. The Pro versions come with a cable that goes to some PCB board, fitted in a regular XLR(M), hosting an electronic balun circuit. This cable does more or less a comparable job of lets say a DPA DAD6001-BC or an Ambient EMPXLR or maybe a Schoeps CCM cable. If I understood relevant parts of the above correctly: Could you describe your matching process? What is your pin assignment on the TA3 mic side? Will (pre) orders be accepted for cable-less Uši/Ucho only on your webshop? All the best Daniel

Ambient PowerLockIt Product Website: https://ambient.de/en/product/powerlockit/

Why wouldn't multiple c-linked 7-series Recorders be an option? What are applications for 6-8 channels ultrasonic recordings? The used market page at Sonosax offers some SX62R that might meets your specs. No clue about their ultrasonic preamp performance. https://www.sonosax.ch/second-hand-market/ It is a bit indifferent in its description if the SX62R dumps 8x 24/192 data onto its mass storage. Briefly lying over the manual I could not find any mention it does not.