Mungo

Well as long as they hire you as a sound recordist you can say to yourself: I'm the best payed drone battery holder in town! That's what I think then too while being a kind of taxi driver, GoPro installer, tripod carrier, watchman...

Thank you very much for this background information! Great piece of work! I listened to it several times, even on monitor boxes and with monitor headphones. I didn't expect every instrument being played really live cause I thought that this would have been too complicated. From my experience also the crosstalk from vocals and acoustic guitars must have been quite challenging.

This is a cable for connecting a Sennheiser EK 2012 to a mixer or camera.

They're becoming a little too mighty...

+1 digital inputs: do not always work (for whatever reason: clock, format, cable, impedance, rate ... ) analogue inputs: always work Very important when you are out in the field. Analogue is the emergency exit.

I don't use AVX myself, but I've been supervising some units for video journalists (self shooting journalists) and I highly recommend it for them. Sound quality is way better than with Evolution, linear up to 20kHz. There is no struggle with gain settings or frequencies, and AVX is very rugged. Limiter is excellent. Ideal system for people who have no clue doing pro sound and travelling around, having no time for rules and laws. There is also an AVX system in use serving as a camera hop between 633 and FS7/2. Line cable used: Sennheiser CL2. About 66dB of dynamics is achieved, which is a sufficent compromise. That camera crew switches from country to country a lot. It doesn't always work, but then they use the audio files from the 633. I personally wouldn't use AVX due to the delay (19ms) and the range which is shorter than a pro system adjusted correctly. You also have to care about the lav. A normal lav (e.g. an MKE2 from evolution) won't do. It will receive DECT noise. You have to use the lav that's shipped with the AVX.

Check the bass with India Arie - Back To The Middle

Been using all generations of Sennheiser wireless equipment - and yes: nothing can beat an SK 9000 transmitting to an EK 6042 (both the latest models). Sennheiser got better with every generation of wireless: The SK 5212 sounds a little better than SK 5012 / SK 50, the EK 3241 sounds a little better than EK 3041 and EK 6042 sounds a little better than EK 3241. This is noticeable especially in clearity of high frequencies and low end freqs and audible companders. I would say that an SK 5212-II together with an EK 6042 doesn't produce any compander sounds unless you choose a very very very wrong gain setting on the transmitter. Even if the equipment you describe is old, I would still prefer it over new low budget stuff like Evolution because: - the HiDynPlus transmitters have an excellent limiter built in - transmission stability is great though range may not - ruggedness and reliability - service friendly (only transmitter) Yes, modern pro equipment from Sennheiser, Lectro, Sony DWX, Wisycom and all the others are way better, but if money matters it's the best choice. Those units were built for eternity.

Helpful also when you and 20 newsshooters are plugged to a press distribution box and you have to leave first :-)

HD25 and MDR7506. Both are excellent on location to make technical issues audible (rumble, rustle, white noise, dropouts, distortion, compander artifacts, digital mess). But I really wouldn't use them to judge equalizing because they sound brighter than the result on loudspeakers.

OB vans and tv studios usually use a TC that's set by GPS, local time. When doing ENG sports shoots I (have to) ask the engineer to give me an output to synchronize our mixer and camera. I guess the reason why there is no common use of UTC as TC in our world is that there are too many concepts gathering absolute time. There is GPS (not working in buildings), DCF77 (only central Europe), mobile phones (no reliable time Information) and other ways I don't know. A manufacturer only will develop a TC device that works everywhere in the world to get money out of it. Not possible nowadays

What's also interesting: An ENG style camera with super 35 sensor instead of 2/3. Did the popularity of FS7 and Amira influence the developers?

Interesting thread! Often I work for documentaries where I come into the situation to wire up persons quickly who have never been wired before - just normal people, no showbusiness subjects. Most of the time there is no wardrobe or make up artist present. I try to be as reserved as possible and have them do lead the cable under the shirt themselves. When fixing the mike and transmitter I always explain before what I'm doing. Even if she gets very direct (opens her shirt that I can see the bra and saying "here you are, guy") I will stay reserved and not joking too much. I always take care that there's some witness around, for example camera person. And I always wear my wedding ring on set, many talents notice that when they see your hands - though it may make noise on the boom :-) Children I almost never do wire for docs.

The quality has become a little better over the last 15 years, but there are still some of that bad feeds. I thought I would have all possible adapters and connectors until someone gave me a male(!!) 1/8 TRS. "This is our only output. We use it for laptop recordings" I have a black mic stand in the car so I can place a wireless hand transmitter aside if it's too bad. This of course only helps when there is one speaker. Lav on speaker I have done many times, especially in churches which were equipped with very vintage gear.

I have done some productions with this mike and it can gave me very very good results, in stereo but also as a dialogue mike using only the M capsule. Vivid and warm - typical Neumann sound. I just stumbled over two points: - You need a very good shock mount and an effective windjammer. - That matrix box is hardly shielded against RF. With an analogue transmitter aside, it "may" work, but with a digital transmitter it's almost impossible. I needed a lot of space between transmitter and matrix box. It worked for me at least with the matrix box as a beltpack on my bottom and the transmitter in the bag. My body worked as an RF blocker so to say. Maybe Neumann has improved this - the ones I used were a few years old.

I've got the new version too, and yes, the connector is missing. I didn't mind because I don't need it, but if this annoys you, write a mail to Ron Meyer saying that you had expected more. He seems very cooperative and understanding.

Very interesting. That codec of the (old) N series is superb, also the Cross Remote. I'm curious about them making a new portable receiver too.

May this bei useful as a camera return in ENG situations? For checking if the hop works properly. Anyone tried?

I muss admit that I never had success hiding an ME2. Additionally to the size that mike is pretty vulnerable to rustling noise. You can try putting it into a furry windjammer like Bubblebee. That's an option for thick clothes of course. Advantage of ME2 is that it has loads of output level. Preamp noise won't bei a problem.

Zeigermann will get you everything if you let them a little time! You can also search for a rental house in the Netherlands that may be located closer to Marl than Hamburg. Don't care about the border - it's EU.

Probably voltage converters? Are Movi, A7S and G3 connected to the same battery? Try powering them idependently.

Yes, that's true. I don't know whether this problem has already been solved, but I heard of accidents like that too. Never happened to me though (MacPro, always updated to latest OS). ExFat is still a compromise to serve both Windows and Apple worlds. The good thing with this device is that it writes to 2 drives simultaniously and quite fast, not writing anything onto the cards like a computer does.

https://www.nextodi.com/products/nd2901/ Best backup solution and a real problem solver. No computer or pad necessary any more.

TC slate is always a good idea, never had anyone complaining or requiring a normal slate instead. It is inevitable for cameras which don't have any useable timecode option. Many shooters show up with an FS7 (without the TC adapter), FS5, Alpha7S, 5D, C100 ...

Using pre programmed banks / blocks (Sennheiser G3, 2000), using calculation software SIFM (for Sennheiser 5000 series), just leaving recommended space between freqs (digital systems like Sony DWX and Sennheiser 6000/9000). If there are different systems in use I try to seperate them as far away from each other as possible, e.g. Sony 470-478 MHz, Sennheiser 5000 582-596 MHz and G3 658-666, depending on the local freq. availability. Works best for me.