berniebeaudry

Thank you!

I would suggest gluing/attaching it to the outside instead of the inside. That way you can stretch it taut. You may also need to think about sewing or gluing the fabric into quadrants. A single piece of fabric would need to be folded over in some spots to conform to the hemisphere of the cage. I would use a thicker/slow drying super glue type adhesive for attaching the fabric, or instead of glue, thin strips of velcro. If you do still want to go to the inside the adhesive I'm suggesting could work for that. Or again a UV cured adhesive might work as well. Here's another thought. How about just clipping the two halves together somehow instead of gluing? That way you could easily open up the cage to change capsules or add a foam windscreen.

Nice! Have you tried UV cured adhesives? I don't know if they work on plastics but they look promising.

Does anyone know of a Sony service center in the US that would stock parts for the Sony UTXB2X UWP series? I have a client who uses these and a few of the receivers have lost the nut on the output jack. They wiggle around and lose audio output in spite of taping them in place. It's the screw on 1/8 inch jack.

Nice work Janik! Instead of panty hose may I suggest Lycra. It's available in black and is much sturdier than panty hose. A fabric store should have it in stock and its the material that is often used to make ice skating costumes. When its stretched you can see through it just like panty hose. I used to manufacturer circular Pop screens for studio mics and found it to be really transparent sounding yet hard to damage.

No bag for me in those days. Both rx were as close to set as possible and cabled back to our "control area". We were recording on one inch video with ccu control of the camera.

I got tired of burning thru nine volts so I built a battery pack the same size as the receiver and loaded it with C-cell batteries with the same amount of voltage. I was able to get a few days if I remember correctly. That is if I turned off between set ups. The lav of choice then was Tram. I eventually sold both of my Vega sets to a production company I worked for occasionally after getting a staff job. They were still in use a good five years later.

Here's a link to a photo of the Vega 66-67 model that was my first pro wireless. https://www.google.com/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&cad=rja&uact=8&ved=2ahUKEwixy9bYsp7kAhUsneAKHWibA-cQjhx6BAgBEAI&url=https%3A%2F%2Fproduto.mercadolivre.com.br%2FMLB-707419286-cetec-vega-model-66-77-sem-fio-vendo-ou-troco-_JM&psig=AOvVaw3Kh_v1ITByGoATlgB6eDYG&ust=1566835340611961 Range wasn't great and the receivers were large so I remoted them from my mixer to be near the actors.

Here's a little of Wave Invasion from their FB page. Vincent Motel, my son's father in law primarily plays a Wilson which was developed by one of the founders of the Ventures. Looks a lot like a Mosrite.

My Son's father-in-law plays guitar in what they call a modern surf band. They're called Wave Invasion. They mostly do outdoor gigs at fairs etc. out near LA. They're pretty good! He also buys and sells guitars and audio gear on line and is an audio engineer. He's got a lot of nice guitars and amps to use. Whenever I see him we always have a lot to talk about. He was friends with the original developers of PZM mics and used to bring prototypes to Frank Zappa's home studio for him to try out.

I worked Super Bowl 39 with a truly funny guy from Boston, Steve Katsos. We were both utilities and worked together every day. He gave nick names to everyone in our little group of technicians. The movie, Weekend at Bernie's had been released earlier in the year so he called me Weekend for the duration of our time at the stadium. Some people still call me that, years later.

6 volts of phantom power at 4mA. Wouldn't the 4mA spec be the pertinent one for a transmitter?

Weird, This post appears twice and I gave my answer in the earlier post. I came back to see if there was anymore posts and looked at this one first and wondered where my post went. Mystery solved. And here is my original post: If you get them closer to the audience the pick up will be more localized and may not yield the results you want. What are you using for crowd mics now? I've recorded a few comedy shows for CD release in smaller clubs. The producer provided me with a Shure Beta 58 for the comedian, a splitter so I could feed the house and my recorder at the same time, and two AKG C-214 large diaphragm condenser mics for the audience. I was always careful to place the crowd mics so the back of the pick up pattern was towards the speakers so they wouldn't pick up so much of the speakers. The two AKGs did a great job and they're only $350 each. I also used a laser level to precisely aim the mics towards the center of the room so I didn't get too much front row pickup. The result is a very natural sound. Of course you do get some bleed from the reinforcement but its overcome by the good direct sound from the Beta 58 and the smooth off axis coloration of the crowd mics. I also made sure the mic stand wasn't wobbly and loose and provided my own mic cord to be sure it was flexible and in good shape. I would also remind the comedian that mic technique was important and demonstrated how to best work the mic. They were paying part of the fee for recording so they were willing to listen to my advice. You may also see if the front of house mixer would be willing to turn down the PA 10% or so if you think they're blasting it. This is what I did in smaller clubs and if your venue is too large maybe go with four audience mics instead of two. I recorded three tracks on my Nomad. Only card compression that I hit very seldom and the project did get posted.

If you get them closer to the audience the pick up will be more localized and may not yield the results you want. What are you using for crowd mics now? I've recorded a few comedy shows for CD release in smaller clubs. The producer provided me with a Shure Beta 58 for the comedian, a splitter so I could feed the house and my recorder at the same time, and two AKG C-214 large diaphragm condenser mics for the audience. I was always careful to place the crowd mics so the back of the pick up pattern was towards the speakers so they wouldn't pick up so much of the speakers. The two AKGs did a great job and they're only $350 each. I also used a laser level to precisely aim the mics towards the center of the room so I didn't get too much front row pickup. The result is a very natural sound. Of course you do get some bleed from the reinforcement but its overcome by the good direct sound from the Beta 58 and the smooth off axis coloration of the crowd mics. I also made sure the mic stand wasn't wobbly and loose and provided my own mic cord to be sure it was flexible and in good shape. I would also remind the comedian that mic technique was important and demonstrated how to best work the mic. They were paying part of the fee for recording so they were willing to listen to my advice. You may also see if the front of house mixer would be willing to turn down the PA 10% or so if you think they're blasting it.

Thinking outside the box about the inside of the box!

Can you post a photo of your set up. The lyres on the shock mount need to be spread out a bit to get good isolation. If they are straight up and down you can get more handling noise.

Heil is another go to brand for pod casting.

You might be able to convince this guy to make you something custom. http://www.avlifesavers.com/xlrmixm.htm

This post brings back lots of good memories for me. In the late seventies I was an assistant at Sound 80 in Minneapolis. At that point in time they were a major user of MCI gear plus dealers for it. A good way to get a discount on equipment they were using anyway. I worked on sessions, but whenever we got a new board in I was often asked to help put it in. I wasn't very technical, it was more an extra body to help move it into the control room. Later on I was trained to do set up on the 24 track tape decks prior to sessions as part of my assistant duties. The 500 was a huge board and I remember when we got it for the main studio. I was fortunate to get a job there after making friends with Bill Berg a prominent studio drummer. I replaced Jeep Harned's son after he decided he didn't like the cold climate in Minnesota and moved back to Florida.

Shaky cam has infiltrated local news shooters that do fluffy pieces with a walk and talk spokesperson. They move just for the sake of moving, or just aren't that good at handheld. Sometimes I can't tell the difference. This type of shot has to be handheld as they're usually moving from interview to interview or to a display and I appreciate how hard that can be to pull off. I don't like it when they move just for the sake of moving and go overboard with it. Totally distracting and annoying.

They make a two channel receiver as well.

If you have Tram style lav mics they make a holder that lets you use the mic as a boundary mic. Its a very small footprint and you can tape them directly to the table. I've used them this way without a Dugan mixer and they sounded pretty good. I would use three for five people. Here's a link to show what I'm talking about: https://www.trammicrophones.com/sale/detail.asp?partno=TR-BBLTD

Does the coat hanger have to be rusty?

Hi Bob, I just looked at the manual for the mini and as you mentioned there is no mention of summing channel one to both channels. I'm guessing something was mis wired especially if your experience was different with the next mini. I've seen other cameras that do have that feature. Its usually when they just have one source for audio and want it on both channels. The second channel can then be set lower for safety. As part of my camera set up routine I always confirm that one is going to one and two is going to two discretely. If I skip that step then Murphey's law will surely be invoked. BB

I have a similar set up and it has helped my reception. Nomad 10, PSC Rf multi, two SNA600, four LR receivers with battery replacers powered by common battery. I don't have the unused SNA connectors terminated. The unit lives in the bottom of my bag.