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Mungo

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

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  1. Maybe using Wingman and fixing an old smartphone onto the Cooper ...
  2. Hello, for a ultra light setup I had the idea to convert a MixPre 6-II into an eng mixer. It surprisingly performs absolutely well with 1 or 2 camera hop transmitters and even a wireless camera return. Unbalanced out but no rf noise struggle at any time, at high level output though (+6dBu). But when using the audio output for serious wired applications that little unbalanced 1/8 inch jack is just not suitable enough. So I want to build a small and light passive kind of DI box permanently connected to the mixpre for the bag. The 1/8 jack could stay connected forever and probably held tight by a 3D print. I found no DI boxes on the market that are handy enough for the bag. Yes, there's the Neutrik NA2M, but it only handles up to -3dBu. I found this: https://www.lundahltransformers.com/wp-content/uploads/datasheets/SIB15.pdf which might be right ok. But still a little too bulky and way too expensive. The manual of the SIB15 says that there a only two Lundahl LL1532 transformers built in, which can be purchased as a solo component too: https://www.lundahltransformers.com/wp-content/uploads/datasheets/1532_1593.pdf But when you google the LL1532, many sources call this is Mic level transformer which I don't want. I want to go out unbalanced from the MixPre with +6dBu. Do I need the LL1531 https://www.lundahltransformers.com/wp-content/uploads/datasheets/1531.pdf instead? Or why are the 2x LL1532 in the SIB15 capable up to +12dBu, in the LL1532 datasheet 6dBu less? I'm quite confused, which ones should I order? They are not cheap at all so I don't want to spend money for trial and error. Thx in advance!
  3. AVX worked properly as I mentioned before. It's based on the cordless phone technology DECT (up to 250mW and automatic channel hopping) so there was never a need to worry. Sennheiser never released an AVX version 2 of it which is quite disappointing. There's a lot of unused potential in the system. The handmike SKM-AVX for instance: noisy, low level and only supporting dynamic capsules - making it completely useless as a plant mic. You should take the MKE2 version since the ME2 is a horrible mike as all of us know here. Important: You can't use G2/3/4 or third-party lavs (even if they are named MKE2) on the AVX transmitter because you need a specially shielded mike, because of the enormous RF blown out by the SK-AVX transmitter. Downside: The receiver's battery only lasts 4 hours. But you can change it and feed it with USB power all the time. Sadly the wifi USB output on the Sony FS7 doesn't work for this.. Another downside: no button lock on the receiver. Anyway: Take care of you and the other crew members. Don't get hurt!
  4. Both, the Deity Connect and the AVX system performed well for me. If you can live that latency. Deity is a little more noisy and hasn't got interchangeable batteries, but quite cheap per ch. You get some remote features and you can connect two receivers (4 channels) to automatically coordinate frequencies. You can remotely switch rf power and latency to improve range or save battery life. No comparison to a pro system, but maybe ok.
  5. AT 875R in Rycote Invision Video and with proper windscreen. More cost effective is impossible. Also very compact in length.
  6. Sorry, misunderstood. I meant compatible to an ENG camcorder receiver slot. Wisy, Sennheiser, Lectro, Audio Ltd, Sony, MiPro, Shure ...
  7. Slot-In receivers that may be operated in Sony camcorders never draw more than 4 watts. Because the Sony slot doesn't provide more. Major problem for manufacturers to design such low energy devices.
  8. Yes, perhaps it has become humid once or dusty. That scale that remains inside may short circuit something. Could be a "stuck" button also. I would try to open the unit properly and clean all buttons and electronic contacts.
  9. X3X4 can be attenuated down to -30dB. Does it distort anyway?
  10. Well, I can understand those concerns too, and I unfortunetely know this way of producing quite well ... (based in Germany too). I record in daily folders, and never reset the take during the entire production. For sound report I use WaveAgent. I check "file name", "tape", which is the folder name. And TC Start and TC End. So, with the information of the file name, the daily folder ("tape") and the TC, every file appears clearly and unique. Even when shot in realtime (ToD). The files can easily be found because the TC matches with the video material and the shooting day - if I hit record and stop my recording in the same moments the camera operator does. I start with Take 100, if there will be no more than 899 takes (meaning 3 digits) or at Take 1000 if there will be up to 8999 (meaning 4 digits), so that there won't be struggle when sorting the files by name on the DAW or editing software. I send the sound report by mail, and if I know the editor, which sometimes is the case, I mail it directly to him / her. No complaints for many years.
  11. No, I had a complete spare Schoeps MS Combo with MK41, but it with a vintage switchable pattern Schoeps (don't remember the name) set to "eight". Everything not very handy. This had no good suspension, no fur either (we shot outside as well), so working with it was harder. The complaint was about the side noise, not about the center, which was the MKH60.
  12. Yes, quiet situation in an empty flat. Person going around and opening doors, switching on lights, flushing toilet, voice bits. The goal was to capture it from a distance and let it sound like from a distance.
  13. Rare issue: There is an input level setting in the FX9 audio input menu. It works like a digital attenuator, so if you want to disable it, set it to +99. Yes, the MixPre series's outputs are far away from real line level.
  14. I have worked several times with a combination of Sennheiser MKH 60 and ATE 208 in a Cinela Piano. The ATE208 is ok for doc work, folk & rock music, general loud ambiences. It's not satisfying for real high quality work (classical music, silent ambiences). I once wanted to use it for a radio play outside recording. The sound supervisor listened in and looked at me shocked. She forced me to use something else, so I switched over to a Schoeps line up. So, the ATE308 will do better I hope.
  15. I (unfortunately) haven't got access to a Scorpio, but I looked up the user guide: Go to Channel Input Menu and you can select AES 1,2,5,6. Means to me: 2 channels each on XLR 1 and 6.
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