codyman

I can't believe people don't like slot receivers, especially in today's bag-centric world (with bag carts etc being popular). My DSR4 has been great and I can't wait to buy another one.

You'll be fine in that range. Seems Vegas is best in around there anyways.

I feel like this should be a production's problem? Shouldn't production be providing shade for the crew given it's a health hazard if they don't? https://www.osha.gov/heat-exposure/water-rest-shade

This kind of breaks it down: https://www.radio4all.org/300-ohm-vs-75-ohm-fm-antenna/

Does your unit have a built in antenna as well? My 2230 does and it seems to work fine here in LA metropolitan area. For an external, I'd just get a cheap 300 ohm off Amazon if you can place the end of it near a window. If you're dealing with a lot of metal or a long cable run, maybe stick with a 75 ohm one.

It's a shame Sound Devices ditched the 970 as this would pair nicely on a cart.

I wonder why no one has thought to incorporate timecode into one of these mixers? I know a lot of them can record multitrack to USB but no one ever thinks about adding timecode. Would be great if this could record + timecode + metadata for track names etc as then it could be a perfect small cart companion to Dante wireless receivers.

416's are great BUT make sure it's a real one! There's a lot of fakes floating out there. https://sound-grab.com/blog/how-to-identify-a-fake-sennheiser-mkh-416/

The full original series of takes is now on Free Sound https://freesound.org/people/craigsmith/sounds/675810/

True. Curious how their USB-C charger for batteries works. Seems like that would be perfect for travel gigs.

Too bad there isn't an AES or at least pro line level output. Then again, I think Andrew at Deity admitted this is geared more towards an audience that will most likely go straight into a camera or lower end recorder and that they'll contemplate a slot receiver down the road if the market demands it.

That's a difficult one because they are objectively a terrible organization that preys on people, but then again they aren't like literal Nazis reaching out to create a hate speech piece or something. Maybe ask for 2x your going rate and donate half to an organization that counters their organization to stick it to them but still get yourself out of whatever financial situation you're in? It's a tough one, I'll tell you that!

It can if you use a wideband antenna like Betso Bow Ties / RF Venue Diversity Fin / the new Sound Devices "Monarch" etc. Just make sure the filters in the settings of the SL2 / 8 series don't filter out the frequencies you're using if you're using that wide of a spread though.

I haven't done post on a show of that scale, but I find at least in television, it seems to be a mish mash of original and ADR (at least to my ears). I'm pretty sure all your big blockbusters of course are dubbed, especially all the big Marvel action stuff. ADR matching though has come to be really good overall these days though. We've come a long ways on that!

I think a lot of this is to build rich environments around a bunch of lav dialogue which usually is sterile and noise reduced. With 3+ cams doing "wide and tight", there isn't a lot of boom playing these days it seems. Don't get me wrong, iZotope RX is a fantastic tool and performs magic, but often times if you clean up a lav, it's kind of in a vacuum almost.

Like everyone's saying, it's not ideal. If you want a poor man's scratch, get yourself a Lectro transmitter capable of doing IFB mode (UM400a on up essentially) and then get yourself a Sennheiser G2/G3/G4 receiver, turn off the pilot tone on the Sennheiser an voila, it will pickup the Lectro's IFB signal and sound great. This is what I've been doing for years.

Ah that makes more sense. I'm assuming they just are having substreams with the dialogue center track just normalized higher then. Or maybe they are even telling the software to tell the Dolby decoder to decode the DialNorm metadata differently? https://en.wikipedia.org/wiki/Dialnorm

I can't imagine using Amazon's Fire TV interface / devices. They are so darn slow and clunky it's not even funny.

The EW-DP 835 handheld set might be a cheap voice of god solution. I've got one of those portable JBL Eon One Compact units and it has a USB port so it could power the receiver for a truly wireless / battery operated unit.

The 4 channel rack mount dante receiver is priced at about $3k USD. So four channels of digital transmission including receivers for about $5k? Not too shabby at all. The packs are quite big for narrative but for like you said corporate stuff etc, hell of a deal.

The stacking capability is nice and it's crazy that digital has trickled down into this low of a price range. Obviously this is geared towards the videographer / low end crowd but I am quite envious of how that crowd is getting such good bang for buck vs other digital transmitter series that are obviously priced way, way higher.

I'd keep your R1a's for VIP's and then give IFBlues to clientside folks who want a "comtek" but don't ever bother even putting it on. Also, it is nice that they are multiblock.

I still have mine and use it regularly. The perfect "boom and two lavs" mixer/recorder.

Almost need a 788t Mark II. Metal housing, dual media, digital inputs, keep the ye olden LED VU meter lights and slap on the LCD screen from the MixPre 10t MKII to "modernize" it. I'm arm chair dreaming over here but I wouldn't mind that!

$5950 is the going rate for the 833 these days. Has shot up dramatically since 2020.