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Mungo

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Everything posted by Mungo

  1. I have good experiences with the Traco Power THB series. They look like complicated electronic components, but they are quite ready-to-use if you solder them in between. Last chance would be using ground loop isolators from the home stereo / car stereo market. You need them since the Senny O/Ps are unbalanced. But I really wouldn't recommend that because of S/N ratio and other unpredictable issues.
  2. Not much more to say, the previous posts contain rich information. One last idea: FM transmitter positioned well outside talent car and tuning in the car audio of the follow car. So you don't have to care about reception antennas and loudspeakers because they're already installed:-) In Europe we are quite limited in TX power (50mW for wireless mikes und much less for FM transmitters), so over here, I would prefer some audio-over-IP solution as mentioned by PMC. Nevertheless I have made good experiences with Sony DWX w/ sharkfins on the roof of the follow car in the countryside. But in urban areas, where you sometimes lose sight (e.g. when having to stop at red lights), range might be too short.
  3. I have worked with various generations of HiDyn plus items (all from Sennheiser, not Wisycom). I can say that it can sound terrible if there are many older and aged components running together. Main issues are pumping and noise flags, esp. when gain is not adjusted exactly on TX. Which is difficult as we all know. Also the older SKs have gain control only in 10dB steps! But the newer the better. The latest combo of an SK 5212-II and an EK 6042 for instance sounds absolutely great and meets current production standards of analogue wireless. All products up from EK 3241 and SK 5212/SKM 5200 may still be ok nowadays and worth a try. All RX except EK 6042 have too low output level for 633's I/P 4 to 6.
  4. There aren't many SMALL (smaller than slot-in) dual channel receivers on the market, so Deity made the right approach imho. There is a gap between those: Rode Wireless Go II, Sony URX, Wisycom MPR-52, Lectro DCHT. They all have their issues (for example being consumer, analogue, expensive, ...). Success now depends on the preamps and RF shielding. Let's see ...
  5. This system was already shown at local trade fairs. The build quality doesn't meet professional demands at all, but since it's Sennheiser you can expect reliability and excellent sound quality. It's great that you can run all units (RX, bodypack, plugon, handheld) with the same rechargeable battery packs or AAs. Receiver via USB too.
  6. To stay OT: Beta SP had a tape speed of 4 inch per second (and that Dolby C already mentioned) which was absolutely satisfying for that analogue TV broadcast of those days. Common practice was editing from Beta to Beta tape, and after that audio dubbing from Beta to Beta (eventually dubbing to a TC locked DAW in between). Sound was normally right ok, really. But it depended a lot on the condition of the machines and recordists' work on location (esp. gain staging).
  7. In my European ENG world this has been discussed for a long time. There are many guys who are hired as camera assistants, not as sound guys from time to time, so they need a lightweight reliable tool which doesn't draw their entire mind attention. We live in the tradition of SQN-3 and 4s, so when the 302 came out, it was a real improvement for good price. And way better than the competitors of that time (like Shure, Wendt ...) But ever since, there hasn't been any real successor of the 302. The world has turned - there's more wireless, so internal ISO recording is now a must, but the other requirements remained more or less the same. Many people have been watching out for alternatives and end up with MixPres (and struggle) or 833s that probably never will be refinanced. In my opinion, SD should design something like the Zoom F4 with the build quality of the 402/552 for 3k$ max. Small, light weight, 4 channels, internal poly wav recording, good preamps and an output board with real full sized balanced line outputs for wired and wireless camera hops and additional unbalanced o/p. Internal timecode, but with versatile BNC connectors. Easy to use, not too many options and real knobs instead of touchscreen. (And perhaps some simple one button "muff sound eliminating EQ" for concealed lavs (Att at 400Hz, Hi-Shelf above 1500Hz)). The 833 is way too expensive and even too complicated for some people and some markets. The 633 was a good approach, but too pricey and anyway been discontinued.
  8. Shows like these are the reason why manufacturers like Shure or Sony offer ultra low RF power modes (1 or 2mW). So you can put more freqs in a channel - if you have access to mighty reception antenna rigs.
  9. Indeed. RTN lvl is about +20dB in my workflow. +1 for Johnny Karlsson: I don't need channels 7 and 8 most of the time so I have routed RTN to 7/8. So I can see the levels in the LR+8ch horizontal view at least (in grey cause they are not armed of course). So I can adjust the camera output by setting the levels equal to the mix.
  10. I've been using it for many years mainly as a camera hop, due to it's unique compatibility to Sony camera models. Most of my work is for TV, and so I do my mix in my bag and record it, but in the end the sound recorded on camera is taken because very often it's "very urgent". So I need a hop solution which is reliable and sounds perfect. But sometimes I get in touch with the handheld, the lav and the plug on. I can say that I'm very happy with it. It never collapses, it always works. Range is astonishingly good. Sound is perfect, but the "N" generation and 3rd generation have a slightly better audio reproduction. It does a bit much RF spray to older microphones when operated at full RF power. But newer mikes which are made for digital RF don't make trouble any more. You also have to be aware of leaving enough space between receiver and hop transmitter (space in distance and space between frequencies) in the bag to avoid negative effects on range. I'm also missing a little more gain on the bodypacks for weak lavs. The Cross Remote function is also very nice, and in the field it's a nicer concept than having to struggle around with apps, imho. The handheld transmitter is a bit outdated, and so is the plug on (new ones will be available soon) but nevertheless it's the best sounding plug on I know. My recommendation. The best ones are the DWR-S03 and the DWT-B03R. I also like the older DWT-B01N: It's equipped with a true balanced input which can't be found on the newer bodypacks any more (speaking of European models).
  11. Recording scene in a small car. No space in the car for me, just the two talents, director and a camera person. So I wired both talents properly and put my sound bag in the trunk, starting ISO record with enough headroom, as you know the only possibility we have in that case. But how could I monitor? I installed a transmitter outside the car, stucked at a closed rear door window. Two passive sharkfins were connected to the receiver. I could hear everything without any dropouts as they were driving around a huge parking space, several hundred meters long, quite astonishing as I wasn't sure if that would work. The car park wasn't very crowded, but after all there was a truck between me and the car. As the car returned I could immediately say that the recording went fine soundwise without having to play back the recording. Transmitter: Sony DWT/B01N Receiver: Sony DWR-S03D Sharkfins: Sennheiser A2003 frequency: around 500 MHz, free and tested in that area
  12. Speaking of my area, the combo of beltpacks+receivers from Wisycom and a Sennheiser plug on is also common. SKP 3000 (unfortunately not in Sennheiser's portfolio any more) sounds absolutely decent on a Wisycom receiver. Maybe you could get one used. SKP 3000 is more pro than SKP 2000 or SKP 500 G4 because it uses the HiDyn Plus compander system. Many years ago there was the SKP 30 which nobody would recommend as it works with 9v block batteries, lasting very very short.
  13. which I found disconcerting. And I'm sure other microphone manufacturers felt the same. Especially those who have a cooperation with Rycote by selling their mikes w/ Rycote suspension a kit (like Rode).
  14. I guess. I just tried out: FS7 (MK1) syncs to all Timecodes regardless if it records 25p or 50p. It doesn't accept Genlock at 50p, only 25p/50i. But when it is set to Slow&Quick Motion (which can be 50fps too), no incoming timecode is recognized. Maybe that's the case. You can easily see if it's enabled since audio is not recorded also. There is a red prohibit sign visible on the audio level meters in the viewfinder.
  15. All cameras I tried so far (all from Sony: FS7, FX9, several ENG models) would accept 25fps TC even when recording 50fps without complaining. I experimented with the various options of the Ambient Lockit ACL204. The manual says: "As with firmware 6.xx Lockits now support double project rates to be synchronized via ACN and automatically select double frame sync settings with genlock/PPF activated. However, as not part of the SMPTE specification, this will have no effect on timecode frame rate and also cannot be transferred via cable."
  16. 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.
  17. 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 ...
  18. 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.
  19. 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.
  20. 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.
  21. 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.
  22. 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.
  23. 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.
  24. 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.
  25. 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.
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