Lisa Piñero

Two Shure ADX1M Micro Transmitters went missing from our set at the Lincoln Memorial on the National Mall in Washington DC last week. The production company is filing a police report as the transmitters are now presumed to be stolen property. The manufacturer has been notified of the theft as have major Sound Equipment vendors and rental houses. Stolen Property: Shure ADX1M s/n 2AB09372065 Shure ADX1M s/n 2SB2017344

I couldn't agree with you more on your microphone selections. I do mostly feature now but did documentary for many years. I do find myself preferring the CMC6/CUT60/MK41 combo inside and outside whenever the situation is amenable. Most of the time there is far too much background noise and we use the CMIT5's outdoors. I also think the MK4 capsule is a great tool to have. It is an amazing sounding capsule with zero pick-up on the backside, so perfect in rooms with hard reflective surfaces IF you can get good placement relative to your source. Regarding wind screens, I love the B5D best for interiors and have used both Rycote and more recently Cinela wind protection rigs for any outside work very successfully for many years with all these mics. Regarding the 416, you are right to keep it. It's a great mic and you will never worry about having a perfect option on rainy, high humidity days, or when you need the most durability.

I've used these for years. They have a variety of mounting options for iPads, iPhones, other tablets & phones too: https://www.thejoyfactory.com

James from New Endian has added Wisycom MTP40S transmitters in US Bands 1 & 3 to the "TX Types" menu of his very useful FreqFinder app (iOS & Android). I should note that he was kind enough to do this within an hour or so of my email requesting he add them. Thank you James!

I'm with John Blankenship (comment #12) on time code sync management. I have been using the same method for several years initially using my Sound Devices back-up recorder as my master clock then happily moving on to Denecke's new GR-2 Master Clock which is a smaller updated version of the GR-1 powered by batteries or ext. power. The GR-2 generates rock solid time code (at all available frame rates) which I feed to both my Zaxcom recorders (continuous jam mode) and use to jam my Denecke slates and whichever sync boxes the camera dept. has onboard their cameras. If I pull a Deva off the cart for insert car work the GR-2 comes with me. I know that many friends and colleagues insist that this isn't necessary however I have seen the drift and/or mathematical errors occur enough that I prefer to stick with a master clock that I am certain is correct no matter what.

Very cool! Thanks for posting Jeff!

Looking forward to seeing this one Jeff! Almost Famous is one of my favorites and still gets regular screenings at my house.

Neopax

Has anyone tried using Zaxconvert on Mac OS Lion? Does it work? Issues?

Very nice! I'd like to check out those Rackman case/drawers too.

I am digging into layers of sound mixer geology in my garage cleanout that haven't seen the light of day in many years. I just came across my manuals for a IV-S with copied supplements for time code operation from 1986 and the Nagra IV-STC from 1988. Still miss watching those reels turn. : ) Also the second edition of Jim Tannenbaum's "Using Time Code in the Reel World" (Jan 1992). I was going to throw this stuff out but thought I'd post it here in case anyone out there is a collector of sound dept. memorabilia.

Done. This is an excellent resource. Thanks for all your hard work and endless support to our community! Lisa