Rakesh Anderson

As a double bass player, I think this is great. And it looks like a mid-side mic setup.

The headphone out on the 633 L,R may be out of phase and cancel out when summed would be my guess based what you've presented. If you made a cable to go out fot the x1, or x2 you may have better luck. The cable you're using is a proprietary rode mic cable. I'm no expert so to take this with a grain of salt. But if you're trying to get some sort of analysis of what the mic and pre are doing, I'd think you would want prefader signal to avoid the mix buss limiter and headphone amp. But Like I said I don't know nothing.

I bet that cable with a trs to trrs, is only using the tip and the sleeve on the trs side because the the mic input on the ipad only uses the the second ring and sleeve for the mic input. Either way it's unbalancing a balanced connection. If you turned down the headphones to almost nothing it might work and you would be getting the signal from the left side of the headphone out. Maybe the x3x4 with the 20db pad might also work, but I dont think it would be low enough for mic level. you should put a multi meter to that cable and see what is connected to what.

Headphone out is stereo, not balanced. tip-left, ring-right, sleeve-ground. A balanced signal on a TRS would be mono: Tip-hot, Ring-cold, Sleeve-shield. The manual probably has the pinouts for all the connections. Your ipad probably wants to see a mic level. Maybe what your sending is too hot. Try sending out your source prefader out the x1 or x2 or main outputs at mic level. The X3,X4 is line level only. The cable you linked to, I think, is for a balanced mono source like a mic, to the Ipad input which has 4 conductors TRRS. tip-headphone out left, ring-headphone out right, 2nd ring-ground, sleeve mic input.

Here's a good one. 150 bucks and all the gorilla you can eat.

I've always wanted to use a bell and light for these kind of sets.

Pretty specific gear requirements. I wonder where these people come from.

I bought 2 LR's and 2 LMb's. I noticed the battery doors on the receivers were really hard to close at first. The black rubber bumpers that surround the battery contact springs came out with the batteries on both receivers one of the first battery changes. I was glad I noticed them stuck to the batteries. I called Lectrosonics to ask and make sure everything was ok, and was told it happens sometimes. I put them back in and it hasn't happened since. The doors feel a little easier to close with a little use.

Thanks David, I appreciate the info. I was hoping to get some Countryman EMWs as a cheap lav that would sound similar to my B6's for an upcoming job, but I haven't found a place with them in stock. As far as the Millimics I've seen for sale used locally, they're really cheap which makes me wonder if they could be a little tired. I'll have to test them if I go that way.

I'm in need of 2 lavalieres relatively cheap. I noticed a couple of used PSC Millimics at the local places that fit pricewise. I've search for information about these, and not turned up much of anything regarding sound quality. Can anyone with experience with these tell me how they sound? I'd be using them hidden in clothing. I'd be using them along side B6's with the crisp caps. I don't have high expectations that these would be the greatest, but still curious as to how they compare to other manufacturers. Any information would be greatly appreciated.

I believe the the gain at the mic was set a little high. There was a replacement mixer brought in to finish the last couple of days. He was using primarily COS-11's, and he also was hearing heartbeats or the same talent I was. So, at least it wasn't just my b6's. I remember hearing it for the first time in the mix, and I wasn't sure where or who it was coming from. Between takes I would plf everyone, and couldn't hear it over the background noise. At one point I thought it was my own heartbeat I was listening to in my head. I had very little time to troubleshoot. Then I heard from the editor, so it must have been audible over speakers. I tried to filter it out on set, but no luck. The other mixer was surprised by it as well. I believe it was transferring up the wire. On different costumes, same talent and same settings, I wouldn't hear it. Thanks for the suggestions.

I'm having some issues with my B6's picking up heartbeats with quiet scenes and really tight dresses. The mics are taped to the clothing in the cleavage, with no rubbing on the mic itself. I've tried a few different placements with running the wire down different sides and no luck. Very noticeable and annoying over quiet dialog. The frantic pace of shooting requires talent to be wired on set prior to shooting. I usually don't notice any problems during my mic check, but when things get quiet, I really hear it. Fortunately, the boom has been getting it, and because the actress is fussy about mic adjustments and the dresses so damn tight I give up on it. Any suggestions would be greatly appreciated.

Things worked out. After the incident, I told the producer what happened and that I would need the replacement waiting or the offender wouldn't be getting a mic. There was a replacement transmitter and mic waiting for me the next morning. As mad as I was, I'm glad I didn't let loose there and then. The next day the Actor/Director made a public apology to me in a meeting with the crew, and according to the producer, paid for the new mic and transmitter. It was just myself and a boom operator for sound department, and my boom operator refused to mic the guy after that. I had the damaged stuff replaced by production, and I was able to solder a new connection on the busted mic and sent the broken transmitter for repair. Now I have another spare transmitter and one more mic, so although unpleasant, it was made right promptly. Live to fight another day.

I've talked to them a few times about other things, but the direct outputs are not factory. Ok I figured it out. If I reverse pins 2 and 3 on the DOs they will be in phase with the mix outputs and I can float pin 3 (the correct one) unbalancing the output just fine. I should have tried that before asking. Thanks

It would be really easy to reverse pins 2 and 3 at the connectors. I made a test cable and reversed pins 2 and 3 just to make sure, and I guess I can snip what should be pin 3 just to test unbalancing it and if there's still signal then I'm fine. I plan on using the DOs balanced, but I just want to make sure it can be done.

I've been working on my old Audio Developments 062 mixer that has had active balanced direct outputs added at some point. The direct outs are out of phase with the mix outs. I was going to reverse pins 2 and 3 at the dir outs, but I was wondering if that was by design. Is there a reason you would want to have your dir outs and mix outs out of phase with eachother? A seperate but related question: unbalancing balanced outputs. transformer balanced outputs you can unbalance by shorting pins 1 and 3, and for imepdance and active balanced, you should float pin 3. What if your pin 2 and 3 are reversed (had a panasonic mixer that had pin 3+ and 2- on the outputs), and your unbalanced cable has 1 and 3 tied together or 3 floated?

I appreciate the replies. Moving on.

Late last night while working on a low budget movie, the Director/main actor had a scene where he gets into a heated argument with another character. I had a transmitter strapped to his ankle which came loose during the action. As he walked off screen he threw a tantrum and kicked his leg over and over until the connector broke and the transmitter flung into the wall. Then he walked past me and said "Fucking sound, you only have one job to do!" I've encountered plenty of asshole talent, but personally never experienced destroying of equipment. I wanted to take a walk right then and there. I did demand that the transmitter and mic be replaced by today, or he doesn't get wired. Just wondering what would you do in that situation? Any advice would be appreciated. Rakesh

Thanks. I must have screwed it up. pin 1 and chassis are shorted when not plugged in. I appreciate it. I tightened the set screw and it pushed one of the crimp teeth through the insulation. I knew that was going to happen.

I just finished wiring a hirose connector to an NP-1 battery cup. Is pin 1 shorted to the housing of the hirose by design, or did screw it up? There is continuity between the negative battery tab in the cup and the housing of the hirose. I took it apart and couldn't see anything obviously screwed up, and I don't have another example to compare. Any help would be appreciated. Thanks

http://www.denecke.com/Support/Documents/Smart%20Device%20Input%20&%20Output%20Cables%20Schematic.pdf I made a cable for this, and I finally got it to work by using 330k instead of 33k. T/C output from my HS-P82 into a iPhone 3. I had 3 failed attempts and finally mocked it up on a breadboard. I didn't have a 330k so I tested it with 3 100k's and a 30K in series. Once I realized it wouldn't take a jam, then I gave up on it. But I did get it to work. The 33K resistor wasn't padding down the signal enough with my old phone and ios. Increasing resistance, it wasn't until I reached 330K that it read the timecode consistently, and any more resistance would make the signal to weak. The meter was just about to hit yellow when it was able to read incoming t/c.

I was thinking about getting a ZFR100 + STA 150 setup. Anyone have any complaints or comments about sound quality when using the stereo adapter?

Thanks, I know that Electronic City doesn't carry switchcraft stuff. I'll give Pacific Radio a call Thanks

Can anyone recommend a shop in Los Angeles open on weekends that would have TA5F and other specialty sound connectors? Thanks.

After looking at the picture, I figured it out. The nut pulls the clamp tight on the shaft. So with the nut loosened but not off you can pull up on the knob while pushing down on the nut and the clamp loosens.