axel

I have owned a 788 for some years and currently work on a 833 for docus and a Cantar X3 for scripted cart work (with typically 10 wireless channels). I've never used a Sorpio. I am mostly doing rather fast paced TV series with like 5-8 minutes a day and I love the X3 especially for: - metadata handling (native X3 supported by a wireless keyboard is faster and with better overview than SD remote on a separate iPad; Cantar lets you edit metadata during record, including use of shortcuts for scene advance. I often find myself listening to the slate and typing in the new number. B

on top of the SMBUS info those IE batteries can be "branded" by software. So Aaton at first only provided basic SMbus functionality like discharge % and provisional runtime with non Aaton branded batteries. With branded ones you could also see the actual capacity vs nominal capacity, nr of charge cycles and some more.

G2/G3/G4 will work fine with IEM, robust setup, great reach, batteries last for 12+ hs. You can add EK1039 as additional Rx, wich are user freindly and a little cheaper, built like tanks, sound is OK for IEM and no compromise in reach.

audioroot now has two "half size" battery lines, the classic 49 WHs and the "neo" 48 WHs. The difference is that the new "neo" ones sport an oled display that lets you read all battery data even without being connected to SMBus gear. The slightly smaller net capacity seems to be due to the additional power needed for the display and ICs. But the price is awesome: the new series is about 30% cheaper than the traditional (101 USD instead of 145). With new Software Cantar X3 can now also read non Aaton battery data, so very likely the Mini can do it too.

Hi Olof, I'm a little late to chime in, but there are a few "specialities" you might want to know about your SX-R4: - CF card: the thing is a matter of firmware. The initial release in 2007 or 2008 was indeed with only "mix"tracks to CF. Current Firmware allows for all tracks to CF. I'd recommend to upgrade to the latest version for hassle free operation with UDMA cards. - There is a SD to CF adapter made by Sonosax specifically for the SX-R4. With this you can run up to a 512 GB SDHC Sandisk extreme pro card. I do use my R4 also as a direct AES backup for my Cantar X

Those wind noise algorithms are truly impressive. But I guess all of it's speech recognition is built around the LOUD voice of the person carrying the unit, who is actually acting out (performing sport). No other voices close by in such a setup. Compare that to the many voices on a film set and your boom op whispering into a private line. I doubt that you would get some usable performance, even with a modified BT microphone, because I don't think you could adjust a treshold for the voice recognition.

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Excellent!! Price was € 9,00 + VAT per piece at the local dealer here in Austria. Screw threads are metric measure here, so it is hard to find generic replacement.

Advice from Austria: Stroh Rum 80% will enhance your tea in Wintertime, but terrribly stiffen your lav cables throughout all seasons. I'd never buy a used DPA from over here ;-)

For some actors I use them upside down, so they poke out to the downside of the button.The above pic by Henri Rapp shows very good the principle of a B6 mount (although it might be a 6060), imagine it 180 deg reverse, to avoid the nose blow. Thanks for the pic!

+1 for all experienced posters above. There is no one-4-all recipe, neither a few tried options which together will cover almost any situation. It is many variables that determine your mounting options, just to name a few here: talent's body shape costume fabrics and colors special hiding possiblities (button holes, necktie, scarf, hat/cap...) a trained eye and ear for fabrics and costume layers: how muffeld will a certain mounting option sound if one ore even two specific layers of fabric will cover the mike; which fabric layers will move and rub on each o

lots of uses for PDR and SPDR, some not so conventional: Equipped with a DPA 4098 gooseneck hypercardioid and velcroed to an Alexa Mini, the PDR acts as a preamp/camera mic (Cam has line level input only, but can be fed from the PDR; the gooseneck streches out to the end of the lens. Easy TC jamming for external recording as a backup, ACs could handle it for some remote second unit guide track recording. SPDR acts as a recorder for low profile binaural stereo recordings (nowadays with DPA 6060's attached to the in-ear monitors, with moderate wind an overcover on the mic works fi

it works well with commonly available shrink tube, small diameters. Pull off the cap from the capsule first ;-). And btw, if such a mic lasts for 15 years, chapeau! I love the B6 because of their mounting options in plain sight. Sure their specs are inferior to COS11 and DPA, but often the way you can mount the mic has far more impact on sound than self noise or frequency response. Lately I find myself using the DPA 6060s a lot, but even those are more than double size compared to the B6 and their visual impact does not allow for under the shirt button or plain sight.

yes, you are right. but you can also use the 4 wire cup for any 2 wire hirose connection.