sonyslave

Interesting... A question for your question: Would an analog recording that was as equally weak and as equally clean as your digital signal, then "cleaned up" in post using the latest computer processing yield a cleaner final product than a "cleaned up" version of the low bit utilization audio? Perhaps the "infinite" levels of analog would offer more raw material for the super computer (and by that I mean your phone) to weave into usable audio. So, should we return to analog wireless with analog recording ... then dump it to the super computer sort it out? ...of course this would be for "under gained" situations only.😉

Exactly correct! In one case the director insisted on getting clean lines in a working restaurant! Luckily I have a good relationship with the crew and they gave me some wiggle room to build a sound blanket box around the talent (a child) and close to the edge of frame that did not compromise lighting, or the dolly in/out of the tight single, or the background menu board. The sound was very clean, better than I or the director could have realistically hoped for given the circumstance. I chalk this up to having the luxury of a little time for careful consideration the following: noise source and reflections to determine best blanket placement given the dolly move, any encumbrance I may be creating for other depts., trip hazards I may creating, agency people who I had to politely ask to slide over, letting the master level key grip, gaffer, and DP know what I was trying to pull off ahead of time so no one freaked out. Also: time enough to build the damn thing without slowing down the shoot since the scene prior was MOS. The key grip helped me out a lot with some suggestions that I had not considered due to the time/pressure crunch. Sometimes I do just throw down a few blankets to deaden a space, other times it's threading the needle of sonic excellence. btw my blankets are also black and white, and are perhaps one of most underrated bang for the buck pieces of gear I have bought in my 3 decades of recording sound for picture.

Sad for Sennheiser! Probably won't help but maybe sending a link to the customer service person of a video clip with matched sound of the handling noise issue will help your outcome? Also include a YouTube link on a piece of paper taped to the mic so the tech can clearly see/replicate the problem. Also including an Air Tag or Tile with your shipment my alleviate some frustration with tracking your mic's location since that way maybe you can do you own tracking. Just make sure your tracker gets back to you with your mic.

I think a major factor is: How often will you be relying on the camera mic as your primary for an interview/distant subject? If often then go with the MKH418s. I suspect the Sennheiser will have better rejection than the Sanken. The downside is the size. You'll probably be MUCH happier with the small, unobtrusive Sanken -(especially when wind diffusion in factored in). Going with a M/S mic for a camera mic is a great practice, provided that: 1) The editor knows what to do with m/s recordings. 2) The camera operator is not chewing gum while rolling. The MKH418S side channel has a noticeable noise floor (hiss), but once decoded to a stereo image it is not an issue unless the recording is of a very quiet environment. As the owner of a 418S who has recorded sound for picture for 30 years and also did a couple years as sound editor for picture (and also an owner of an FS7 provisioned for 418S) I can say that a M/S mic is very appealing considering amount of dimension it can lend to a sound design, while extorting minimal additional burden on production.

My old Nokia 232 (circa 1996) would give me a bad headache (dull ache, but a strong dull ache) if I used it for more than 5 minutes, and I never got headaches except when using that phone next to my head. I think back then phones were in the 800 Mhz-900 Mhz range and output 0.6 watts. A few years later I worked on a EM radiation conference/convention in Maui. The conclusions from all the studies were that cellphone radiation has no measurable negative affect on people, only a slight warming of human tissue. Despite their conclusions I continued to avoid using a phone next to my head.

FOR THE LOVE OF GOD UPDATE THE SCREEN pleeeeze My nightmare realized: It looks like exactly the same low res, dark in sunlight, tiny, scratch prone, crap screen that I've been using on the Nomad for the last 7 years. It SUCKS. (The rest of the Nomad is brilliant imo)How hell are you going to monitor 8 wireless RX and as many tracks on this microscopic Tandy era technology? ...and don't get me started on the Windows based Touch. It needs to be bigger, ultrabright (like SmallHD monitors) higher res, bigger(oh, did I say that already?), scratch resistant, bigger, maybe OLED, and bigger. Glenn, +50% of your Nova customers are old and getting older and slowly going blind. Also, 6 pots should be minimum. -With love,

Finally solved! Talent can't drop the belt pack (backpack??) transmitter into the toilet...won't fit!

I normally would agree with you, however due to my preexisting condition (chronic procrastinitus) I did not follow up with DPA regarding the lemony situation. Early adoption means early admission pricing, = extra sting! ...this was...*mind clouds up* 3 years back?? Haha, live and hopefully learn...or learn from others!

I recall having a similar issue a few firmware versions back...maybe 3-4 years ago? I would have to toggle between mic and line for signal to "pass". It did not happen often and has not done this again in a long time.

My first and last 4061 slim lasted exactly one half day of shooting, gingerly placed and removed from one talent. Cable failed close to capsule....won't be buying DPA again.

Really?? http://www.neutrik.com/en/xlr/crystalcon/nc3fxx-b-crystal Give your sound some sparkle...I'll hold out for the gold plated, zirconia encrusted version.

The first freelance gig that required a gear purchase was to record stereo nat sound for a documentary...it was low budget but high quality was paramount (seems nothing has changed!) Fostex M22RP: Rented- The editor(and former sound guy) recommended that I utilize a Fostex M22RP (a mid-side printed ribbon mic), so I rented that. It was big and heavy and really needed a stand to prevent handling noise. I had to slap together a wind noise solution for exteriors, ...I think I draped a Rycote Windjammer over it. FP32A: Borrowed-from a production company that I was formerly a staffer of. 32A was great because it had M-S decode in the monitor matrix. Sony MZ-R55 Mini-disc recorder circa 1998: Bought- Nobody else that I knew of had tried using Mini-disc for production recording(pre-internet forums!). I thought that Mini-disc was the ideal solution for low budget recording. DAT was too expensive for me and too finicky. I bought a Sony MZ-R55 stereo Mini-disc recorder (Sony was still at it's peak of engineering prowess, and it shows in this unit because it does so many things right... and still functions 17 years later). That Mini-disc recorder was a perfect budget solution for 2 tracks of digital recording. The caveat was that it needed to go through A-D conversion to get files out of the Mini-Disc and onto a CD to hand off to the editor, but it worked.

Holding out for the DAT version -just around the corner.

Did the camera stop recording audio in the middle of a take? If yes a playback analysis of the moment audio recording ceases may offer answers.

Alexa Mini @ 25fps for Euro doco shoot. Not sure what firmware was on cam. Mini needed 2 volts to see TC Note the "LTC IN" is displayed despite "LTC in signal missing" also being displayed.