TJW

Both the Sennheiser 300 IEM and 2000 IEM use the HDX companding (as opposed to the better HiDyn) and both the pocket and stereo transmitters are 35mW. They do a job day in, day out and the 300 IEM at under £300 ($500) in the UK, you can afford to carry a lot of them but there is often a feeling that they are on the edge of range. A small, light uncomplicated, wideband IEM receiver to work with the LT and priced so that we can buy them in quantity would be a great addition to this new range. Tim

My quote was from Wendy's in Manchester. Timecode of all things is not an area where I would try and save a few bob. I still have a couple of black Lockit boxes that I use on audio gear that I bought back in 1996 and still going strong. With timecode, I just want to set it and know it is right. Tim

If you are talking about the new Ambient, I think the TC module drops into a number of different size slates. Tim

In the UK, I have been quoted £660 for the new ACN-LS Ambient slate http://www.ambient.de/en/products/ambient-recording/clockit-timecode/lockit-slate.html available I believe the end of this month. Far from being a basic slate this is Ambient's highly accurate tuneable Lockit system, incorporating Ambient's Lockit network. Lockit Slate ACN-LS Modular Time Code Slate and Display As all Ambient Clockit devices the »Lockit Slate« provides a rock solid, highly accurate, temperature compensated time code generator. »Double the brightness with 2 cells less and still longer battery life« The completely revised LED time code display features double the brightness at less than half of the power consumption of its predecessor. Therefore we could reduce the batteries to only 4 AA cells and still achieve a prolonged battery life. »Transmit the clapped time directly to the script app« Furthermore our new slate comprises the full functionality of the Tiny Lockit including ACN (Ambient Clockit Network) support, metadata and clap time transfer, and logging. These network capabilities also allow the »Lockit Slate« to be a fully functional, generator buffered time code transceiver. This provides the stability of an Ambient Clockit generator with the flexibility of a wireless TC system but without the fear of dropouts. »Use the Lockit Slate as Midi TC display and interface« In addition, it also offers a variable time code offset to compensate for processing delays of digital cameras. Plugged in into a computer, the Lockit Slate transforms into a highly accurate Midi time code interface with LTC / Midi time code conversion and of course big TC LED display. This way the ACN-LS opens up the possibility to sync for examples multiple cameras with a Pro Tools workstation. As known from the Lockit and Tiny Lockit, the user interface is easy and intuitive to use. »Use the display standalone as fully functional Tiny Lockit« Thanks to an all new and revolutionary modular construction, the electronic section of the Lockit Slate can also serve as a fully functional, compact standalone display for documentary or desktop use. Housed in a machined, pearl blasted and anodized aluminum body it can easily withstand the roughest production conditions. »Choose the matching slate body to suite your purse and style« Interchangeable slate bodies allow for customization and will be made available as easy to swap clapperboards in various sizes, weight, and materials ranging from basic to classy. So, the user will always be able to choose the slate body that suits him best. Also interesting? Tim

An alternative would be to fit a PATA adapter in an HD housing and use a CF Card. It might be more convenient for handing over rushes. "I saw the light". I have a couple of Cantar X2s and they work well for me. Other recorders are available. I am looking forward to X3 later this year - a totally new recorder taking the best from X1/X2. Tim

The line IPs do have very accessible trim controls - as do Cantar X1/X2. Interesting all the comments on layout as if it is totally new: It is in fact a development of what Cantar users have been using for over 10 years - but it was radical when it appeared 11 years ago. Tim

The dimensions are the same as the X1 / X2 but it is lighter. I have one Cantar on the cart with the Sonosax and one in a bag. I love the linear fader setup - really good for cross fades and for me the best bag set-up for the work that I do. You can see that the linear faders are now 10 and they are longer throw. They are also very, very smooth. The knobs and sliders you see are from the 3D printer - not the finished item - as is the screen panel. The rotary selectors are from other equipment and not the production items. Tim

Transcend do / did an inexpensive 128gb PATA 2.5" SSD. It was a direct replacement in PATA laptops and works a treat in the Cantar. Certainly worth a try. If the HDs are original 40gb and 80gb they are likely to be 8 years old by now and unreliability might creep in. Not a bad recorder the Portadrive. I used one for 4 years before I saw the light. It had a lot of connection and sync modes but fell down on weight, battery consumption, the brightness of the meters in sunlight and having scsi rather than firewire. At the right price you have an able - if dated - 8 track recorder. Tim

Richmond Film Services modified a lot of their earlier AD mixers to have direct outs. Give them a call +44 8940 6077. Tim

Good to know they are good for comfort as the next London taxi looks to be based on this van. And it looks like a real Nissan: the bigger vans they sell as Nissans in Europe are just badged vans from their parent company Renault. Tim

http://www.transvideo.eu/blog/afc-microsalon-2014-un-grand-cru

The new Cantar X3 prototype will get its first viewings in Paris next month. A lot of hard work has gone in to it. A really amazing recorder is on its way. Really good news. Tim

I have a couple of Samson XP40iW wireless speakers. The version I have has a wireless VHF receiver and a hand held mic as well as cabled inputs. You could also buy a Samson pocket radio mic system if you want to send programme sound wirelessly to both speakers or you can get the standard version without the wireless option. They work well. If I need anything bigger production rent in either Anchor or a mains PA. These have a built in lead gel and I have some small DCDC converters in the van so they are always float charged and ready to use. A really good sound for something so inexpensive. Tim

I am pretty certain that is the french sound recordist Yves Capus. If so, he doesn't always dress like that. His pics are at: http://www.perchman.com/albums/index.php?alb=12&PHPSESSID=5487ab59db0ca5710a031c1f8443d562 Tim

and Aaton and Sonosax... Tim

Hi Seb, I hope that you have the answer to your conundrum in Karlw's response. I am using EU spec SM transmitters with a Venue receiver for the first 6 and an SR for seven and eight, linking in to the RF out from the Venue. For a year now - and that is working on two feature films and a TV series - I have mixed and matched between Venue and SRbs and I detect no fundamental difference between the performance of the two receive systems. If the problem is as highlighted in Karlw's reply, it is interesting that the open and natural sound of the DPAs highlights the problem whereas the Cos-11s or the level settings used with the Cos-11 tend to mask it? You have my contact details. Call me if I can be of assistance. All best Tim

Agreed. I have a Sonosax ST. A lovely way to work but the very good pre-amps of the Sonosax are bypassing the very good pre-amps of the Cantar. And a good analogue desk is costly. For me it is either a 12v analogue desk or a fader panel. A digital mains desk might have applications on bigger jobs but I would avoid them for day to day mixing. Interestingly, the voltage of LiFePo batteries as opposed to lead gel can make a sinusoidal inverter a more realistic option - even on a small rig - opening up the possibility of a mains desk. Tim

Tom, You seem to be describing an omni.... but then, how can a 416 be a suitably wide pattern? Surely rather than a wider pattern, a mic that shows reduced level but not coloration off axis is what you need? That enables the boom op to favour the quieter of the voices and the louder, off axis will still sound good. I use CCM41s and they do just that - your 641 should do the same. If handling noise is the problem, try a Cinela mount or an InVision and decouple it with a really light cable between the top of the boom and the mic. Try a Tac!t - which I would highly recommend: perhaps you need a better boom or your boom op needs gloves with the boom you are using? Make the 641 work for you - it is one of the best. A Mk4 capsule might work for you where the headroom is manageable but you will still have to sort out the handling noise. Alternative work horses would be the hyper MKH 50 and the cardioid MKH40 - both excellent. Tim

OK I admit it: the designer sent me a couple of boards..... Tim

Agreed. I have built the Tac!t pcb into my Minix mounts for my CCM41s or CCM5 rigs. Massively reduced handling noise but no audible effect on the human voice. Highly recommended. Tim

I use the MSJ 3 pair from Canford for my Schoeps double MS. It is a little stiff but I generally record surrounds with the mic on a stand if it is quiet - I need to retreat otherwise I record my own breathing - but I also use it on a short pole if I am in the action with higher sound levels. The Rycote has 2 x con boxes inside and a 7 pin XLR in the handle. I have a break out the other end from 7 pin XLR to 1 x 3 pin and 1 x 5 pin for my Cantar. Works well. I also have the Mogami Quad cable which is bigger diameter but more flexible. I use it for my other surround kit of two back to back pairs of near coincident crossed pairs (Pearl TL66) in a big Rycote. A nicer cable but bigger and heavier. Available from Richmond Film Services (London) by the metre or made up with plugs. Tim

This is a very old model. I remember using one of these probably 25 years ago, so I am not surprised that there are no more spares available. As Philip Perkins mentions, the clips were never that great - I removed mine and used tape as they wore through the hi-wind cover. Great to know that yours has lasted so long. I have a couple in the attic that are green and have wooden handles going back to the beginnings of Rycote. Also some in an aluminium mesh with cast aluminium handles - very heavy. All museum pieces now. Tim

Next generation of 2040s? I think you will find that the 2040 is the last evolution of the RMS2000 / 2020 / 2040 range. The next range - as with many manufacturers - is likely to be a digital one. Tim

Worth looking at the Ambient QS, their new top of the line ultra rigid boom. http://www.ambient.de/en/products/ambient-recording/boompoles/quickpole-qs/qs.html I checked one out when passing through Munich earlier this year and it is an amazing piece of engineering. 5.2m standard (17 feet in old money) and 6.75m (22 feet) with the 5th section. Tim

Audio Ltd can retune 2040s but the components required to retune 2020s are no longer available due to RoHS. Anything above 800mHz and soon 700mHz is unlikely to be any use in the future as these frequencies are being reallocated to mobile data. Your best bet is to take advantage of the trade in. Just a few hundred euros but better than the bin. Tim