bmfsnd

Same battery as everybody else, different label.

While the RE50 is a classic for many reasons, I love the sound of my Beyer M58, and talent loves the longer stem too.

The argument is about sticking to post production standards, and the risk of handing in work that doesn't match with your master recorder files.

WHAT?

Well the car shots are almost always at a stationary stage, with projected backdrops. In a BTS featurette, I think I saw stage design with an "SUV" divided into sections.

In my experience, I never heard ticks, snips, zippers, etc when adjusting gain.

If it's just for sleep/waking, this could be more useful as homescreen widgets than a full screen app.

VW Golf TDI. With the back seats folded down, I can fit a standard PSC cart in there, and barely some extras. I like a challenge.

4-channel slot receivers Tape makes a comeback Ktek Catfish More polarizing fanboyism

*If they decide to give you the full amount back*

Where'd you hear that? You can supply 12V bias power to the antennae.

Audio Technica stuff is not bad for that price range, especially when paired with that preamp behind it.

2.4 GHz amps are mostly useful for situations where the band is clear, and you just need to send the signal further distances, i.e. building to building. In a crowded environment, using an amplifier may just add more noise, and make performance worse for everyone.

It only runs for 2 hours, unless the system turns on again.

Yes, partly due to RF output limits (10 mW in Japan).

I grew up there periodically, and watched a lot of TV.

Japanese talk, talent, and variety shows mainly use above-clothing lavalier mics, or wireless hand mics, depending on production or preference. Place the mic wherever works best, they didn't mind about aesthetics. Sometimes it's a combination of podium and wireless mics. Receiver antennae are remotely placed around the stage. Signals are routed through an auto-mixer (Dugan etc) and compressor/limiter chain. Overhead mics are usually used for producer, behind-camera crew, and audience reactions. Behind-camera crew reactions (laughter, shock, etc) are actually a big part of the mix. i.e. If you hear mostly men laughing, that's the crew. If you hear mostly women, that's the audience. ~ In that era, scripted drama shows were either boom only, or dubbed later. Wireless mics were mostly for TV and broadcasting.

I'm in LA, and I can do it all. Calling you now...

I give my CL-12 its own Pelican.

Truly sorry for your loss. His 12/12 initiative was an inspiration to us all. Sending good vibes to you and your family.

If we're rolling, and it's within boom pole height, I'm knocking that s*t out of the sky.

For those who celebrate, have a Happy Hanukkah week. Relive the miracle of our ancestors saving 87.5% on olive oil!

"This will be great for my... collection" heavy breathing

Sell them to one of those "videographers".

Hi Ron, While most of the numbers on the unit are faded/worn out, it does seem to start with a 13. I still would like to test this out, as I've tried ruling out all other hardware. I even have similar result with an SRb.