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About Mungo

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    ENG, EFP, Sound mixing post
  • Interested in Sound for Picture

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  1. Mungo

    Sennheiser XSW

    I don't need it for typical multichannel productions. But yes, there are jobs like: News, sports, run'n'gun. Broadcasted same day, sometimes even same moment (via 4G backpack on camera). Mostly one or few channels. Hard to say, as always. Interior probably equal to a worn out G2/G3, exterior 30 metres. It strongly depends if there is line of sight between TX and RX, which, for me, is given most of the time when it's mounted on camera and on the mixer. With people, animals, metal (e.g. vehicles) or glass windows between the units, the range will decrease dramatically. But
  2. Mungo

    Sennheiser XSW

    Have been using it as a camera return feed for about a year and am quite convinced. No gain staging, directly out of camera's headphone (with DC blocking) into TX and RX directly connected to mixer's RTN input. In some environments there are immediate disturbances, probably by wifi and bluetooth. The worst connection that I had was in a hotel lobby at a red carpet event. I discovered that, most of the time, this can be solved by switching off and on again. Seems to sync on a new channel then.
  3. Thx for the info, so not worth a try. I have used some type of HD 280 predecessor very few times. That was many years ago and I remember being quite disappointed.
  4. Interesting, that looks like a solution! That's a very good tip! Does anyone know or even use Sennheiser HD 300 Pro? Are they suitable for our work or just another DJ phones?
  5. Too bad. IRig Pro from IK and the Rode i-XLR deliver perfect sound. They're about the same as an external audio interface like you would use on a laptop.
  6. No, I must admit that I never worked with it. I got to know a lot Sennys, Schoeps, Rodes and some semi-pro AT.
  7. Ask 100 soundies and you will get 200 answers 🙂 All I can say that I never heard an interference tube microphone with less indoor interference tube artifacts like the 8060. But that's not really an answer to your question ...
  8. I once was lucky and came across the Sony DWX DWT-P01 together with an MKH 8060 and was stunned. I had never before (and never after) heard such a transparent solution. All frequencies present, no clipping at high and no noise at low levels. The receiver wad connected to the recorder via AES of course.
  9. Good idea. The voltage setting on the 664 is quite annoying because you can only set the battery type, not concrete voltages. I have set it to NiMH altough I run the machine on a 14,4 Lithium V-Mount battery. If set to "Lithium Ion", it's going to warn and shut down far too early.
  10. Zeigermann in Hamburg or Ambient in Munich possibly may know more about it since they get loads of feedback from their customers.
  11. Have installed it a while ago. No issues at all with bag work. But with CL-12 and Wingman: Sometimes the machine wouldn't boot up completely or the wingman app would freeze. But no lost recording or corrupt audio file ever occured. Because I haven't used the CL-12 in conjunction with the 633 in earlier firmware versions, I don't know if this has been an issue before.
  12. Rack mount receivers behind the stage in phsysical reach of monitor mixing technician, that's what I see most of the time. Sound engineer monitoring and controlling all RX via IP. Every serious manufacturer has extensive software solutions for that: Sennheiser WSM (Wireless Systems Manager), Sony Wireless Studio, Shure Workbench, Lectro Wireless Designer, Wisycom Manager ... No problem via IP, so no experimentig with Dante needed at first. Disadvantage for our work: In most cases (except Lectro) you need big rack mount receivers which require AC. In case of Sennheiser (which I t
  13. There aren't many TC settings in the FX9 menu, but that's ok. Free Run Preset will work. The TC plug is the third BNC seen from above, the second one from below. The writings on the camera body are a little irritating, I connected wrong at first and got a little mad for a slight moment. The plug at the bottom is genlock. There is switch a which makes both plugs either input or outputs. I had got it working successfully with a 633. Unfortunately the camera TC drifted away nearly a whole frame per hour! Mounting TC clocks seems essential again
  14. Another way, of course. But be sure that your lavs and preamps can handle that enormous SPL (not voice, but engine). You can't check on the ground - even if the pilot is so kind to do a test for you with engine at full throttle, the sound is nevertheless different and louder in the air, my experience. The intercom system filters out a lot of engine noise (should be), but sounds more telephone-like, of course. I once had to equip a tv presenter who should record himself in mini 2 person plane, with some Gopros. I gave him a Sennheiser MD 441 wired to a simple solid state record
  15. +1 when in flight, there is no time / place / possibility to solve audio problems. It's too loud for proper monitoring anyway.
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