No price increase here in Switzerland. It even lowered due to xchange rates. Probably also a factor € vs $. 

You should do a test with the crew. As even the choice of the compendium can have an impact on the vibration noises. The magazines are also a big factor of sound if it's an old not cared one. The bad film loop can also give you problem. Is it SR1 or 416? Big difference in the evolution of the cameras. But film passing through the gate is  such a sweet sound ... 😉 

Nominated for Best Original Score at 2025 Oscars for The Brutalist

Thanks for the link. Nice to listen to him.

Patrick

PS: soo many cameras and none recorded the sound of his mic....

Oscar nominated "The Brutalist" score recorded with Sonosax R4+ & AD8+.

An interview with the composer Daniel Blumberg :

https://pitchfork.com/features/interview/the-brutalist-composer-daniel-blumberg-on-his-striking-oscar-nominated-score/

45 minutes ago, bigidibo said:

 

I think they share the same design in MD2D..? Which I really love as a tool. Next-level DAC and preamps.

 

 

The M2D2 is totally another tech based on dual AD (that came out before Zaxcom's and is a bit different). The M2D2 is really close to the AD8+ preamp and R4+ recorder series wich have a bit less compromise due to more power draw capability. The SX-ST VT is 100% analog no AD conversion before EQ. As there is no AD there is no need of a dual AD structure. Still the best for a battery powered audio preamp and mixer.

For music lovers there is also the SX-VT line wich has rare specs :

"Wide bandwidth10Hz to 200kHz, suitable for SACD and next converters generations"

Sonosax pream use proprietary tech than others and permits such a wide bandwidth.

People love to speak about 32bit headroom but first you have to get some sound to record. 😉 

Patrick

11 hours ago, Masaki Hatsui said:

Well, figured out that their price is 1x SB CHARGER (without DS-2S 2-bay docking station ) = Deity DQC2 - 2 Bay 😆

But at the same time it might be the smallest in the market.

Tempting...

And no need of big power converters... Simple usb-c converter. I still have to test their charging speed.

Try a SX-ST sometimes you got one to sell on Facebook

This is a SX-ES wich is the little brother of the ST.

https://www.facebook.com/photo/?fbid=8860698820714312&set=g.422226551455412

FYI, Arri's AEM-1 Audio module from Alexa35 is also compatible

https://www.arri.com/en/camera-systems/camera-components/aem-1

On 10/17/2024 at 12:56 PM, Masaki Hatsui said:

I was also interested in this charger, but I've just seen another option from Betso :

https://www.betso.eu/sb-charger

Has anyone tried it?

 

I was amaized by the build quality. It looks like it's machined aluminium. You can't make it smaller. Even Jacques Sax is impressed 😉 

Feel free to ask any questions 😉 

Patrick

A good preamp is your friend.

Do someone know if there are tools to tackle the problems of specific sounds like cow bells. Not on dialogue but on nature or wild tracks?

Thanks a lot.

Patrick Tresch

Hello,

I'm looking for a sound report software that isn't Wave agent wich is great for a start but  there is a lack of features and it need a lift up. 

Any ideas. Would love to enven buy a license if there is a new tool in development.

Patrick

7 minutes ago, Axel Mishael said:

How did you convinced the DP to put such a weight (on the other hand a "camera mic" never sounded better).

I'm the DP 😉 

I usually use the CCM41&CCM8. I prefer a stereo (MS) PoV of the camera.

IMHO it's not too heavy.

Patrick

Here the Schoeps Minicmit in the Cinela Cosi, sitting a top the RED Komodo-X.

Sonosax M2D2 Preamp.

Jacques Sax told me that they used Stuart's mix for the final mix...

One question though. Do you send a mono feed to the director/camera or do you have a stereo output? Wich tool do you use to send the audio?

Thanks

Patrick Tresch

I love the blue you choosed for the stop button. It’s unique. 

Built in Ambient TC on Komodo-X? 
are you sure? 
 

Patrick 

What I heard there are no spare parts.

Pat 

21 hours ago, RadoStefanov said:

my workflow  is If the camera sound is required for a legitimate reason  " short turn around" the camera operator should listen. 
not if you are doing seat down interviews a snake with return is a must. 
 

IMHO the sound is the sound dep responsability. Even checking for problems on the camera sound, metering, updating softwares and chansing bugs, or declare : it's not yet a tool to record sound.

On 5/1/2024 at 12:50 AM, Phillip C Dent said:

I just worked with the AEM-1 yesterday and got burned. I set my audio input to aes in, but when the camera power cycled it reset to mic in and phantom power on.  So the audio for the interview did not get recorded on the camera. I had the audio on the b cam and my 664 and everything was jammed, but I had to have the fun conversation of letting production know that there was no audio on the A Cam. 
 

I also did not put my Lectro M2R on the camera as a hop when we went into Verite mode, so as not to fry it again.

 

I’ll pass on the firmware update to the owner of the camera.

For the record the software of the AEM-1 is made by Arri (and not Sonosax).

I spoke to Sonosax about this hot shoe. It's kind of difficult to implement. I told them that the potential camera owner base would be huge. But difficult to sell a 1700.-- preamp for a 3000.-- camera...

If you want to get a try 😉 here some more infos about the electronics.

https://en.wikipedia.org/wiki/Multi_Interface_Shoe

On 6/24/2024 at 8:52 PM, Jeff Wexler said:

As far as I can tell, Rode will lose just as Lerctro lost. The patents are solid whether you agree with them or not. Defending the patent is no fun at all but necessary for any company that holds patents that presupposed to prevent other companies from stealing. The legal costs are substantial and obviously hurts Zaxcom ore than Rode (Rode is a billion dollar business). No matter what the legal costs are, it has to be done, it will be settled in court and Rode will have to wait like every other company until the patents expire. Of course if Rode agrees to a licensing fee (something which many, many other companies have had to do to produce products that are deemed to infringe), they would be able to legally manufacture and sell a recording transmitter.

Or ignore the USA market.