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Mungo

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  • Location
    Germany
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    ENG, EFP, Sound mixing post
  • Interested in Sound for Picture
    Yes

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  1. PZM will only work in silent environments with perfect acoustics and people MUSTN'T touch the table. So not really an option. If you live in the German part of Switzerland, you probably remember that show: They had problems with rumble noise as far as I remember. But on the other hand it sounded very good, I guess they had excellent preamps.
  2. I did something similar some time ago and had only three lavs plus an MK41. It was a horrifying job and post was happy but not *very* happy. It was quite difficult to cover a 2-person-discussion between people far apart from each other. PZM on the table sounded great, but wasn't a good option cause the table was touched a lot by the participants. These days I would rent as many wireless lavaliers as there are talents, a Scorpio or 688 (maybe cheaper), a CL12, record ISOs and let Dugan help me delivering a proper mixdown for director and scratch track. You don't need to rent expensive film gear, there are several rack-mounted multichannel wireless systems available for the stage. If the lavs can be visible (as I understand because you consider goosenecks), Shure systems maybe a reliable and affordable option. Or Sennheiser, Sony ...
  3. Iron, I see that you're based on the other side of the world, so maybe the following tip isn't an option for you, but anyway it will probably help others here: Kortwich Filmtontechnik in Berlin helped us several times with Sony connectors. They built me great right angled versions ($$$) and even a solid adaptor to Lemo-3-Pin. They haven't it on their website, you have to phone or mail them.
  4. Mungo

    Noise Assist

    Have the four instances in the 833. It can't do wonders and needs to be operated carefully, there's a learning curve how and in which intensity to use it. But since I do mostly news and documentary stuff, I wouldn't do without it any more. Never got the chance to test the Cedar plugin which is double the price. + works good when there's a constant noise (generator, dimmer) + slightly increases range of boom mike exterior (traffic noise) + can slighlty help you with clothes rustling noise when lavs concealed + especially recommend for the mix of multiple lavaliers + makes you a hero occasionally in ENG style shoots ("Can we do the interview or is it too loud in here?" "Well, we'll hear the noise, but yes it will be clearly understandable.") - sounds weird and blocky if intensity too high - no help to isolate a single person speaking when other people speaking or shouting around - doesn't work satisfyingly good with abrupt noises like dog barking, items of metal falling on ground - doesn't help much in echoey rooms - steals low freq and makes the voice sounding more flat - depends on circumstances, so there is no value that "always works", you have to experiment again every time - speaking of 833, it's in the ISO if you activate it. If you want to record both processed and unprocessed you are confronted with complicated bus routing - not suitable for fictional stuff when there is a proper post production. Izotope and other software do it much better. - plugin is for one machine only, for one serial number. You can't transfer it to another recorder, and if you recorder is dead, stolen or in repair, you can't use it.
  5. Audio output is, as on all Sony receivers, mic level. I don't know if the headphone jack provides L/R separate outputs of both RX. If so, you could make an Y-cable and use the high level HP signal for your channels 4 to 6.
  6. My experience is that you can't use an NT6 (which is about the same mike as NT5) close to an LTE router. Unusable. I guess we have to deal with that cause NT5/6 are quite old design from the early 2000s when mobile devices weren't such an issue as now. Even old 416s can't deal with today's RF environment.
  7. Mungo

    Leicozic SR2050

    Quite naughty from that company to not only copy the design but even the name (!) of the Sennheiser SR2050. I use the Sennheiser "original" frequently and can say it's a rugged and reliable workhorse. Range highly depends on the antenna connected, I use a passive sharkfin. You can either go stereo or mix two sources in the beltpacks via focus menu. If Leicozic offers similar quality it should be ok.
  8. Mungo

    Lav tape

    All double-sided stock tapes I tried so far were too noisy and/or too bulky. So I carry on using Stickies and Undercovers. Well, admittedtly it's our responsibility to keep that special market alive. For other fixings I have a bunch of different medical tapes like 3M Transpore, Leukosilk, plasters etc. They all have (or haven't) certain advantages like sticking well on skin, going off completeley from fabrics etc. Some sound and hold well but are white, so not always invisible. If a tape is noisy all the time I can still use it well for fixing cables further away from the lav or IEM cable fixing on presenter. Trial and error.
  9. Well you should avoid it in any case. But: I was lucky, in both scenarios, more than once. Perhaps the AES42 mics have some protection built inside and the P48 aren't harmed by 10 volts.
  10. Been using AES3 and 42 every day on the 833. AES3 for Sennheiser EK6042 receiver(s) and AES42 for the Neumann KM-D microphone with supercardioid capsule. As SCI mentioned, connecting the receiver via AES3 always sounds so much better, even when both receiver's analogue output stage and mixer's analogue input stage are great quality. When mixing analogue and digital sources you have to be aware of latencies. In most cases, analogue is "faster" (esp. hardwire connected analogue mikes), but sometimes vice versa (e.g. when there's DA-conversion taking place in the receiver). I always look up the specs.
  11. You could use FM transmission from the follow car to the car audio system which must be set to a very low volume. If you mount the FM tx outside and high above ground that should work fairly, especially in a non urban area as mentioned. Also because car audios usually have a quite good reception stage. I know about shows here where the other way round is done frequently: director crew in the follow vans listen to the recorded dialogue in the play car via their car audio.
  12. Mungo

    Poor RF Range

    +1 I've painful experiences with bad antenna cables and SMA Whips which obviously looked like in perfect condition. Could be some issue with the SL6 antenna distribution, some loosened connection inside or so.
  13. Not really reliable and some kind of unpredictable for serious work, as Codyman mentioned. It may run very well in the one moment and in the other there's a dropout produced by some random mobile device around. Very bad too: wireless video, wireless focus and wireless DMX controlled lighting units (worse!!). But: I've been using 2,4 Ghz audio devices for any purpose which are not important for the product, e.g. camera return. That makes sense in my opinion since it doesn't steal me UHF frequencies neither produce intermodulations harming my mikes and hops. I have no experience though with DJI, but with "China-no-name", Rode, Sennheiser and Deity. Deity is most reliable by far, but that is achieved by too much delay.
  14. Been working with Schoeps foam and Cinela Leonard. Foam is not so effective and attenuates high frequencies. Very slight, but I believe hearing a difference to a "naked" Schoeps. Only use it for sitdown interviews when people tend to blow air in unexpected directions while speaking. Leonard is nice: quite rugged, very effective, neutral in sound and the additional fur allows occasional shooting outside. Of course the fur is not suited for heavy wind, so you can't use it by the sea or in storms. I do much TV stuff where there's much switching between shooting interior / exterior and this is a nice solution for this. When shooting only outside I use a windshield kit of course (and a different mike).
  15. Speaking of Walkie-Talkie-like Intercoms: Even with analogue, if you get it working, it will probably sound horrible due to the different compander modes. Pumping and noisy. Additionally Walkie Talkies are very narrow band (e.g. 20 kHz) while wireless mics / IEMs are up to 200 kHz. Also Comm systems like that aren't designed to receive audio all the time. While receiving they consume very much power and may get hot. Some systems will quit permanent reception after a while.
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