stacysound

Ditto to what Allen said. You can be fairly loose with the component values. Even if it changes the impedance slightly, you’ll still be fine. You can build these in TA3 connectors with 1/8 W resistors. They’re quite small. But you need to have good eyes, and a steady hand.

Check your PM. I have a Comtek system for sale.

Outputing from my SD 633 X3/X4 outputs to a Lectrosonics UM400 for IFB. Straight cable is a little too hot. Needs a pad of say -20 db. Handy with a soldering iron. What value are you guys using for resistors R1 and R2?. Diagram below. Don't need a lesson in Ohms law, just too lazy to create a spreadsheet on my own for something that I'm sure a dozen of you guys have done. TIA Or is there enough gain if I wire the TA5 into the lectro line level? I should have known to look on the Lectro site first. Found this. Since I can't delete this entire post, I'll leave it hear so it may help others.

Used to be, it was just us NFL Films guys. Now the team may have a guy, and sometimes the network will have a guy. The team generally doesn't like it one bit. You probably won't be booming on the sideline unless you're working for one of those 3 groups. There's a very select group of Films guys that do that job. The NFL has regulations on where we can stand and when. I also expect NFL/teams to get rid of all the booms except those of NFL Films guys. It's getting a little much.

Hit up Pete Verrando. He restores them and is quite knowledgable.

Like some of the others have said, it’s always been that way. I’ll drive this in a new direction with the observation that in movie credits, sound department used to closely follow camera department. Now, who knows where they’re listed. Right behind the directors PA sometimes. Of course used to, only department heads were listed and credits were over in 30 seconds. Times change.

I rolled my own. I also made it compatible with the Remote Audio wiring scheme. Sometimes on multi-camera shoots you have to switch cameras. No need to switch tails. RA seems to be the most popular. They also make several different kinds of breakouts for the various cameras. My most recent is a breakout for a Arri Mini. I also made a couple of extensions and a 7' extension for the dolly.

I have a Deva IV I want to sell if you're interested. PM me.

Phil Palmer can jump in to verify, but my understanding is in Wayne's World, the Bohemian Rhapsody song was done with a loop. Like above have said, big amp, don't expect perfection. Hopefully it's towed and not actor driven.

All can be problematic depending on set/location. I've used all 3. If you don't like Comteks, you really won't like ERX. Range is horribly inconsistent without big antennas/amps. Lectro is best more often.

+1

+1

In what capacity? News reporter on the sideline? Boom over bench? Know that ANY rf has to be cleared thru the rf coordinator.

I've used the Shure MXA910. 2' x 2' panel replacement "tiles". 8 lobes. Dante controlled. Pretty unbelievable, must say.

I'm getting ready to embark on a project that will require wiring a lot of sweaty bodies so I'm playing with a few ideas. 1) NeoPax Mic Bra. I cut a small hole in half of the material and inserted the wire into the strap. No more loose wire. 2) I'm gonna lay a small bead of hot glue, like on this knee brace, and see if that helps it to stick. I got a URSA strap. It is sticky. It is expensive. It is too short (nothing more than a 40" chest).

Got a URSA chest strap from Trew (Thanks Glen). It does indeed stay up better than the Neopax mic bra. However. 1) It's expensive compared to the Neopax 2) It's only 40" long total. If you consider 2" for velcro, it's 38". I have a 40" chest and it just fits. My vision for this was to use it on football players, coaches, etc. They don't have 40" chests. Hopefully they will make a larger size, and drop the price. Or Neopax will put sticky stuff on a new version of their mic bra.

Thanks Larry. Good read.

Boom mic???

Yea...

If he wants a backup, I have a Deva 4 for sale. And the FireWire port works great! I'll even include a CF reader/writer.

I have a Zaxcom Cameo mixer I'll make you a deal on. Outstanding routing options.

Don't overthink it. Take Phil's advice and boom it. Determine upfront which will be the main camera, and the one that you follow, including his frame line. Just make sure you hear the person(s) the main camera is pointing at. Stick your microphone over that. Let the second camera, and production, know that since you can't wire people, wide and tight won't work. You will mandate the frame line of the second camera. Also let them know that the second camera can't go to the other end of the table and point at another conversation without another sound guy. Two cameras, 2 sound guys.

Someone out there using a SD 688 with a loaded Lectrosonics Venue. Mulling over how best to wire the two together. I hate to use the six full-size XLR's in the event I need to plug a mic cable in or something that needs phantom power. Do you use the six TA3 inputs? This would put my 6 wireless tracks on tracks 11-16. Any post problem with this? Wish SD had routing options with these recorders…

Thanks Ryan.

Curious at what the new iPower 700’s run time is in a Lectro IFB. I have the 520s, and they're older. They are good for about 8 hrs. Will the new ones make it through a 12 hour day?