Mungo

Thank you Fred, that's what I've been waiting for since Sennheiser announced the system. I compared the two recordings. This is what I found out: - Great quality, not AGC audible! - AVX cuts at 20 kHz - sibilants are a bit exaggeraed - I discovered a drop out when you say "cable" at 0'19 - phase is turned. Sennheiser did this on all their analogue systems, why do they do it again?

Yes, if you have some lockits working in Ambient Clockit Network, it's a very nice solution. The good thing is that it works as a normal lockit (without genlock function), so it can transmit Continiuous Jam also. When in slave, it survives a whole production day with four alkalines. But even power loss is no problem, because when in slave mode, it immediately syncs to your Continuos Jam after battery change. For a special purpose I made a test without sound gear. The lockit slate stayed in sync with a PDW 700 (with internal TC) for about two hours under all conditions (battery change on camera, power save on camera, cache rec on camera ...) One thing: There is a sensor regulating the LED's brightness which doesn't work very well in my opinion. I got used to adjust brightness manually.

There is only one thing I can add since we're shooting on ships very often: Be aware of saltwater. A drop of saltwater into your XLR input may kill it slowly. Keep them covered all the time as well as all your knobs and other metal parts. If something gets wet, try to clean it with drinking water and dry it soon.

Kortwich from Berlin sells a Fostex FM-4 for 1800 Euros. Shipping and customs may be difficult from Germany, but there is probably no better eng mixer without a recorder. Kortwich's device was just used for demonstration. Scroll down a bit http://www.filmtontechnik.de/service/fundgrube/

Hi, had some very very good experiences with ORTF and Schoeps. I love it. It's my first choice when a choir or a classical orchestra has to be recorded, especially when it's an ENG syle job with not much time and no chance to visit the location before shooting. You need some space between orchestra/choir and the ORTF pair to get best results, some metres behind the conductor. Soloists need support microphones of course, especially solo singers, but also solo violins. Instruments in a classical orchestra are positioned to sound good without any electrical amplification, and the ORTF records it more or less as it is. Sounds coming from the middle are captured correctly in my experience. Greets! Mungo

Thank you Jeff for sharing. Really good concept, and Mackie is known for good quality so I guess this would be rugged enough to cope with the location recording world. I think it looks a little bit ... frightening. Like a part of a battle spaceship. Audience might get afraid if this was put on a tripod. ;-)

Keep the UWP-D system from Sony in mind. Of course it's mono, but you get a cheap solution for many purposes. The receiver has a powerful headphone amp and you can use it as an additional radio mic. Receiver and transmitter can be powered by AAs or USB so it's even possible to use a cheap AC adaptor for always-on applications. Sound quality is ok, but not as good as on higher priced equipment.

3.4ms analogue to digital 3.6ms analogue to analogue Via 2.4 GHz you are able to control frequency, gain, LCF, and I guess the P48 of the plug on transmitter and some sleep mode.

When there us a gun shot in a scene or a very fast door slam, I usually let it clip. I even switch all limiters off because to me (and nobody ever complained) a very short clipping sounds more natural than a limiter pumping. "Longer" sounds like an airplane launching or a scream are something different, you would hear the clipping, but "it depends".

Absolutely! I'll have myself made a t-shirt with these words ... Did anyone try hiding Sennheiser MKE-1? I made good experiences with them - they are small and have a very thin cable with nearly no cable noise.

Did you try to switch off the display backlight and the LED dimmer?

Without good mix track, producers and directors won't be able to hear the whole scene as it really sounds before the stage of audio postproduction. That's after shooting, first viewing and editing. With your mix track, they can judge the scenic work by audio from the beginning on, even by listening on set.

Well ... in former times police officers had Nagras ...

Hi Andrew, thank you for that information! Good to know! Good luck it was just demo equipment, so I don't have to send anything to Sony. I will run other wireless to FS7 anyway. Greets! Mungo

ENG / reality / sports shoots I do always require single channel on camera from me, even lavs and boom in a mix. Journalists don't want to spend too much time with sound because the pictures are often edited, mixed and broadcasted on the same day. A digital single channel in camera receiver would be great for this. With analogue wireless you never know if there are dangerous sibilants, noisy artifacts or other compander stuff on camera.

I just mean the camera slot. Sony has a digital system for Sony cameras.

This is the second full digital system with a slot in receiver. The concept looks great, especially as a hop for high quality audio on camera when zaxcom is too much / too big. I'm really surprised, never heard rumors that they would develop something like that ...

They sad that intermodulation calculation is impossible. But I guess when the systems are several blocks separated from each other, that should be no problem.

This thread is quite old, so a question to you: Has anyone worked with Sony DWX ever since? As lav or hop? Is it the best sounding product on the market? I tried them once and was impressed by sound quality and stabilty, but they didn't do well with my analogue wireless in the next block. As engineers say, you can either use analogue or digital, not both. Is the codec that good or did it just cheat my ears that day? Greets mungo

From a European point of view, the British, especially the London based location recordists are the greatest. They have excellent reputation all over the continent and great experience because of the many BBC documentaries which are produced.

Did the L out rename itself to Ch6? Had that on three devices.

Made a test recently with FS7 and UWP-D connected to a 633 via X3X4: Quite high noise floor, some strange digital noise appearing in interval and being recorded. All in all disappointing. Something plugged into the XLRs will sound much better.

For me I can say that I adjusted quickly when driving in Ireland and NZ though I must admit that I'm afraid of left hand cities like London or Tokyo. But driving in the US is just great in my experience. I love it. First rule: No hurry - compared to here and the autobahn. You will soon learn what the button "cruise control" is for. Once when I was in the US a few years ago the rental company didn't have enough full size cars. So we got a Lincoln Town Car. Best driving ever

Extension announced for slot in receivers ...

X1 X2 able to lock. GRRREAT