andrewstone

All 6 mic inputs, including the TA3 connected ones, can carry phantom power. See page 38 of the manual which can be found below... https://cdn.sounddevices.com/wp-content/uploads/2019/09/833_UserGuide_9.10.19.pdf

Thanks for posting this!

Guess I am going to Iceland now. That is amazing.

I have a few from AMBIENT. They work well.

This thread has enough information to send shudders down the spine of most freelancers in the US. If anyone on this board has connections with mainstream media, thinking CNN et. al., I would get them on this story. Most journalists hang with freelancers professionally so they would have an ear for this kind of story. This really stinks.

Are people using the standard quick release tip on the Sound Guys piece of kit or the one that has the split threaded bit that splays with the tightening of the allen bolt? https://www.gothamsound.com/product/locking-quick-release-tip

You can find nanoFlash units for sale on a variety of forums in the video world. Picked up one a few months ago that was in excellent shape. Internal battery usually needs replacement.

Fortunately haven't had the need to do mp3s on my 633 but sure glad I read this thread. Hope SD gets to the bottom of this.

Thank you Gordon. Most helpful.

Myself as well.

Agreed on all points, as well as the high-pass filter recalling last used settings. Thank you Sound Devices.

Things change in the world of digital delivery and software. In just the past few years we have seen the infiltration of cloud subscription services where you have no choice in the matter with people now being conditioned into paying 3 to 4 times the amount they used to for software that has been mature for well over a decade or at the very least being put into a situation where they are paying yearly for something that would have been a one off payment. People are downloading/pirating less music now that they can stream an all-you-can-eat buffet of music for 10 bucks a month. Habits and views can change and change quickly. If you think about it, most people who are creative professionals that have been doing this before the "digital era" presume that the creator of the material retains copyright automatically but the reality is, at least from my perspective is, that has been seen as debatable since 1995, about the time that mp3s started circulating and the web began. I think this idea of a key to decrypt creative content is worthy of consideration at least as a starting point for discussion. Should not creatives get the same kind of assurance of payment that software developers get or anyone else who is a business person in the digital world? Halting production with encryption may be extreme but most businesses that deliver digital content require payment before activation of the content occurs.

Does anyone know if a fix has been issued for this problem yet?

In case you haven't seen these before but as Philip mentioned things will get top heavy and possibly ungainly... http://www.bhphotovideo.com/c/product/687517-REG/K_Tek_K_SPT_K_SPT_Shoe_Plate_Mount.html and this one but the straps may not be long enough for the 411a http://www.bhphotovideo.com/c/product/1006331-REG/rycote_157406_wireless_receiver_camera_bracket_universal.html

Yes, sorry for the mix up. 400 hours. The point is, if you have a way to do your production work in it to help offset the cost, it makes the proposition a bit easier to swallow. It is expensive if you are seriously considering the other alternatives. If you look at it on it's own merits, in isolation, then that is a different story.

Nuendo trial gives you 18 days of full use of the app, that's 24 hours x 8 days. All you need is the eLicenser dongle which you can get for $20 or so. The full use trial will go on until that actual use time is used up. This way you can spend your time when you have it in the app to see if it works for you. It is one of the few DAWs out there that has timecode, as I am sure most here know. It is really too bad it is so expensive at the outset. Not into subscription s/w myself.

It appears that Sound Devices have fixed the firmware and issued version 1.4 for the 633 You can find it here: http://www.sounddevices.com/download/633-firmware/download

Thanks for posting this. I use Aux 3 & 4 regularly.

Yes the amount of selling that goes on with the Red User Group is breathtaking. Not sure where all these young filmmakers get all their money.

Agreed. It is an inexpensive and effective way of dealing with the nuisance Sony pads that will not stay on. You do loose some sound isolation but in terms of trade-offs the benefits FAR outweigh the negatives.

Might find double sided tape between the back of the pads and the capsule helps on the 7506. I have the same issue. With the HD 25s the issue is very real. Replacement parts are only a solution if you want to replace the whole capsule. The connection problem is not with the cable or the cable connector. It also could be the capsule is made of very soft plastic which allows the receptacle for the connector to splay out. I've got a pair of Sennheiser HD 600s with thousands of hours of use. Replaced the cable a couple of times but never had an issue with the intermittent connection issue. The housing on the HD 600 and many of their higher end / pro phones are made of very hard plastic, unlike the HD 25 mkII.

I spoke with a Sennheiser rep at their booth during NAB about the HD 25-II connection issue. He recommended their new Sennheiser "HD 6". It uses the same capsules as the HD 25 mk II series and apparently has the HD 25 sound. The connections on these new phones look more robust.

A Boommate is designed to fit into a grip head. Great for sit down interviews. A "baby triple header" is useful in this config if space doesn't allow for another C-Stand. http://www.bhphotovideo.com/c/buy/Shop-by-Brand-BoomMate/ci/4/phd/4291583202/N/4294255798 http://www.bhphotovideo.com/c/product/3617-REG/Avenger_F900_F900_Baby_Triple_Header.html

The issue around wireless video transmitter/receivers is a complicated and messy one. It in fact highlights why you as a profession don't want wireless audio to engage "in the race to the bottom". Teradek is only part of the story. There are two main issues with video transmitters from an owner/operator perspective. One is producers are bashing down Ops to INCLUDE these transmitters as part of the basic day rate of operation. Second, new players in the market are dropping their prices like mad to get into the game and including wireless as a freebee and giving day rates of $500 to $800 for the Camera/Steadicam Operator AND gear which is often in the range of $30,000 to +$150,000. A good wireless system which could stand up to the rigors of set with lots of concrete walls and RF out the ying yang would run you north of 10 grand. For the past 3 years or so Teradek and others have come out with wireless systems ranging from $2000 to $6000 and Producers started asking for wireless video for free. Some did it and now it is a HUGE problem for the owner/operators. These cheaper systems have not been as good as the more expensive ones. Some have managed with them but now many are upgrading to a system in the $8000. Unfortunately, the precedent has been set. Meanwhile many people have been screwing around buying these sub-standard video transmitter/receivers that have come out the past few years and are buying yet again. You see the problem?

Anyone who is a freelancer has to read the Missing Missy email exchange. Haven't laughed that hard in months.