James Louis

As a follow up, I have on occasion pre-cut shapes of hypafix, and there are lots of throwaways, the backing gets stuck to other pieces which turn directly into crumpled pieces of tape. But for those that survive, it's still terrific--goes on dry and taught and stays on all day--so it has a dedicated fold in my mixer bag these days.

I agree. It is wide, but you would need less of it if you were "opening up" your lavs in a mix (as the off-axis will retain the upper frequencies and the relationship of those frequencies). The remaining room where I was working became present pretty quick as I pulled away, believe it or not maybe 1.25 meters from source to accommodate the key, which is already outside my expectations for this mic. But in other applications, this also means easy-going strafing and pans that are more likely to keep the room tone from morphing. More cardioid is also going to mean less early reflections from the ceiling or whatever you are placing in your null angles, even if you're listening to wider information in the front of the capsule. And comparing the mic pattern diagrams supports my listening impressions. But no, I wouldn't call this remarkable for "reach" if you mean that you want a close-mic'd sound from a more distant range, as you will begin to hear the liveliness of your recording environment.

I like to contribute to the many good subjects we have on hand here already, so I will tack on my impressions of an interior job I completed today with the 4018c. It was a trunk show and media blitz for a global fashion brand. The designer scheduled one-on-one's with journalists over different time zones as well as a little remote runway show. The assistants laid out the collection on a sofa off camera which he could then fetch and point out any detailing and construction material. The global marketing manager sitting next to him offering specifics or simply laughing at the current joke. To me, it's off-axis perspective that really highlights the technology in this design. I think it has everything on the 641. But additionally the 4018c maintains a very linear spectral distribution around the lobe of the mic pattern, resulting in a very well mixed relationship between your primary source and the activity around it. In my example, you heard the designer talk freely, and you heard a complementary level on the fabric and you heard a natural and open sound on the fabric which not only matches the dialog and doesn't need to be eq'd, but also sold the quality (and durability) of the materials (a bottle-recycled denim, flannel-lined coat pockets, recycled alpaca etc) when you have a clear parenthetical in a script (father continues to read the paper as the kids shuffle in for breakfast) (Alicia opens window of classroom to address the construction crew) Clearly, in most big works these are blocked such that the sound assets can then be layered. But you'll find with this mic that the surrounding action and the dialog make lots of sense in relation to one another...

If I understand you correctly, you could use other lav manufacturers with your current setup. A better mic recording directly could preserve more fidelity. Alternatively, you can use a dynamic handheld mic with the Track E as well, for man on street style interviews with mic and marque...

In my case last weekend, we used the new gain settings on the Amira. I had a camera op who checked that things were where I left them after any battery switches. We also did fine with the mic inputs out of my AT825, and the director found even more use for that footage. That level of buy-in and cooperation, not to mention focusing and remembering to do so, is an exception. I will attest to the set up resulting in a very functional mix recording. For a news package or for going on-air the channels I work for would run with it.

You had an older Amira. If you have an older Amira it will have mic or +8. A newer audio board will have +24 of headroom as an additional option, which would be a blessing but for the fact that we’ve had sound operators on here reporting that their signal came back 16db over what they calibrated, which would correspond with the settings moving back to +8, plus the consumer signal in which they calibrated… in other words, with the new audio board, I would still go with the established practices on this camera unless someone else other than you or I chimes in and confirms any improvements in the latest firmware… I can also let you know if my team got burned this weekend…

Thanks @Johnny Karlsson That said, you picked the 8+ option, which is what I’m inclined to do. However, your answer does not resolve whether the newer audio board with the +24 option input level will hold its settings. Sounds like folks have gotten burned on here with the signal bumped up on the mix when the camera powers back on. And thankfully they are going double system. J

Short of sending 2-Channel AES-EBU, the conclusion I'm arriving at is that the original +8 input signal on the AMIRA settings menu is still the way to go. My working assumption is that with a power-down on the camera, this is the default setting, and with the current firmware at the time of this thread, the setting will be inadvertently reset. Select 8+, then use the attenuated, consumer-level -10db, line output on your recorder. Has anyone else confirmed whether this problem has been resolved with an update to the +24 setting? Do you think a physical pad connector would do a better job than your mixer? I could pack them as well...

@ABBlochthe mini expects a line level signal; glad you brought that up

Now I see the confusion on the size: somewhere down the line I misreferenced a MiniCMIT with a CMC1U. All's well that ends well, because there was no special order necessary; the XS was safely on the shelves at Gotham. It worked wonders last gig on some particularly competitive, territorial sets. Gotham has a special order short hair "S" which was never picked up, if that suits anyone here. I liked Constantin's uncovering the accommodations on the XS, and I thought I'd wait for the nylon chassis that Nelly at Cinela modeled for us. Do you guys have a 3rd-order, low-cut filter along your input chain?

true that. and to chime in about what's "nifty" with the OSIX that I have, @Constantin, no, as you raised, it doesn't answer anything about wind. The hardware is clever in how they originally addressed the minimal area to which they could find purchase on the mic connector. It introduces the notched wing nut, no real bells and whistles there, aside from the under-appreciated fact that it's a confidence for when I'm choosing my axis, knowing it won't slip into some other uncooperative angle. I'm happiest with the build quality, the lightness and minimal profile, and the decoupling of the cable from transfers of mechanical handling. As far as engineering, it is befitting the 4018c. That said, I wonder if they would have sold it to me if my sales person had considered the significance of the COSI? And what does Cinela recommend at this point? Is this a legacy item? Seeing as it has remained in its tupperware, it's only been a month, and these items are made of non-destructible plastics, would Gotham consider this in a return? Or would I be wise to put it on the Used market?

You know, I could have just taken Lauren's word for it at Gotham, @Johnny Karlsson. She said the same exact thing, and that they simply take the content from the manufacturer that it represents diameter. You know, by now when they take my order, not only will it have to be realized at their production house in France, but they are also on holiday for what I gather will be a month. They might not even process the order until they return. Maybe the new site will come with new announcements or at least update us on where things stand. That said, I might as well ask whether Gotham can sell me the XS (model number labeled "L") with the 19mm connector rather than have the dealer sell me that as an add-on. It's not like they would have to pilfer it off another kit. Furthermore, I could propose that I pay for the package that includes anything in the pipewerks involving the fabric chassis for indoor work. It's not like I'll be getting my cosi immediately, so perhaps I could leapfrog the current technologies and anticipate that as a next move. I head into Gotham next week, and they are offering me a loaner cosi for my multi-day work while I put in this order. That was a nice development. At the rate in which I'm getting work, it'll be nice for now, and then I can afford to get lost for a bit. (I'd like to do some adventure cycling before the leaves change, and get up to Vermont.)

I'm diving in today and getting one, @Constantin You mention an XS model; do you mean the Short, 19mm, COSI-S-19 (X3-S)? Aw shucks-- now I see that there is a distinction with an XS model on the Trewaudio product page which is not explicitly stated on the Gotham page, and the cinela.fr site is still down. (Gotham is literally calling the COSI Small the "Cosi for the 4018c") Ah, they have the "Mini CMIT Cosi Windscreen kit" as well (without designating the XS. In fact, I suspect they have the model # incorrect, as they denote an "L" and the accompanying picture actually looks longer than the small). I gather that some dealers haven't even stocked these, so I'll consider myself lucky that I can run up towards Silvercup Studios. Noted on your comment about the additional 19mm connector. To answer your question, so far I haven't done a thing about wind for this mic specifically, and I can see how that's going to become an old answer real fast. It's been on indoor interviews since I purchased it last month, but this week I followed B-cam outside to the curb, and yes, as you anticipated I was struggling with a storm-front slowly moving in. Next week I have a multi-day shoot which I cannot fudge, so this week was a fairly forgiving and nonetheless definitive lesson.

I entirely agree, @Valentine The waist band is too low for the water bottle, and the shoulder buckle is too high. Who wants to plop this down on the subway and have the one thing that clonks on the trodden floor be their drinking bottle?

I'm grateful for your affirmation on the 4018c, @Constantin And your vote of confidence @Johnny Karlsson At first I thought I wanted the 4018B, and then I sensed that the B-preamp is compensating in ways that in actuality I would be happy to take responsibility for on the C-Preamp: evaluating the application, handling and placing the mic. The results from this mic and, yes, it's size--what it can access--are certainly worth my managing these scenarios. I actually found this OSIX mount really nifty. Now I will want a pause to consider where that leaves things.

My apologies for not doing more to answer this for myself; the cinela website is still down, and I'm not sure if anyone has spoken to this question directly: I have the soft OSIX mount for the 4018c. Is the Cosi designed to interchange with these components? Would the Cosi be recommended for the same niche as the rycote softball? The function of the softball as I understand it is to grab the errant line when a boom movement has to be swift, in order to manage a resulting "whoosh." Clearly the job of two booms would better serve this circumstance, however a walk on, or a staging that requires a camera pan or tilt might require an abrupt repositioning of the boom. The softball affords more movement in a hypercartioid by making allowances for the low-frequency susceptibility of this capsule type. Is that how you understand it? Then comes the cosi. It's designed with the fur integrated, which leads me to think it's suited for unavoidable wind. But is it suited for this particular application whereby I could swing it in place quickly in an indoor scene that requires more blocking/choreography? Or would I be better served not looking for a patch but rather getting the "B" preamp for the 4018?

Have a good show, Ben. And in retrospect, so long as you reported your concern up the chain, it still holds true that the answer they instructed, rather than the one where you or I dictate, is still the choice that best protects you.

Makes sense that I should first come across hypafix on this thread as it relates to the B6. I really appreciate what you noticed with porous tape, and its a welcome surprise that the mic maintains an open sound under an application of body tape. And likely I will return to transpore and try the same method, with some caution now that others are reporting stories of skin reactions. It gets points for being very easy to peel and apply. I'm genuinely impressed with its adhesiveness, it's comfort and flexibility, and yes, it's breathability relates to how well it works covering this mic. I bet it would also work well for clothing tape. That said, I don't like how hypafix spools and appears to be sold in wide rolls, the most narrow being 2". It's much like paper, and won't hang off my belt with other kinds of tape. It would come loose and dangle, like gift ribbon, paper Post Office tape, or packaging bubble wrap. And I'm not sure the backing will remain in place if I were to cut and prep cross sections of it and leave these in my bag. The full roll in itself would take up too much space for bag work unless I migrated all my mic dressing techniques to using it. And I think it would get soiled and ruffled outside of its already flimsy box. I'd end up continually cutting off sections to clean it up. It could use an applicator, maybe in the shape of a case for a wind-up mickey mouse wristwatch or swatch?

such a good question. Let us know what you find out, if you're not then too busy! I'm inclined to think they really mean it. This is Netflix, not a cable channel with Must-Carry rules. I'd be more interested in Netflix' content intake/upload criteria. That could help you anticipate your answer or leverage your expert practices (if you see an opportunity or benefit to dictate the terms. typically for liability, most of us would not opt to be the decision maker on this matter, but in this case the decision could make the workflow easier for a lot of people, and your input is worth something.)

Hi Frederick, I don't have access to a Nova. I am using the clips posted on here. So any deviation is a matter of what was provided. I would bring to your attention the underlying hunch that you would hear more pumping. This is not necessarily the case. That's what we're trying to discern. It could be that the release on a gate, for example, is gradual enough that its not grabbing our attention, yes, but it could also mean that the Nova is using noise reduction, ie filtering. Although it is very tricky to subsequently volume match the original, I believe that you can still conclude something by confirming how much of the signal (rather than the noise) is targeted in the processing. Even if the original were louder, I can still claim with a listen that the range of the information in the signal is passed into the processing. Even if I only reached partial polarity, I can still partially evaluate what of the spectrum is differentiated in the test. You can confirm this by measuring the -dB of just the noise bed or putting it back into a spectrogram, and you'll see that my volume leveling isn't too far off, and I did measure from a tenth of a decibel. From what is conveyed in listening to the content, not just the context, there is quite a bit of discernible dialog lost here which I cannot otherwise explain, and I'd be happy to be wrong if it means our Nova users are getting more from their equipment. Still, yes, this would be more controlled experiment if we post the clips in the manner you instructed!

This is the noise output only of the Nova. This was a trickier experiment to conduct. If you would also like your equipment or parameters to be tested as such, confirm that you are processing the entire original file, perhaps by starting recording on playback, rather than rolling independently. Keep your faders at unity and confirm that there is not any global output compensation on the noise reduction. Also, post the unprocessed file along with it and confirm that you haven't changed the length of each file. If the unit has a bounce or export option, that's the best way to confirm that the files will line up. I had to resample the files rather than export the results in this case, which explains the odd reference numbers in the file names. I apologize that each example isn't more immediately clear. That said, this experiment was done with a 3 sample offset from the original, after matching the exact sample by scrubbing the conditioned audio in place (sample offset corresponds to longer processing time on the Nova as well as where there is the most complete polarity in order to conduct this experiment.). Then the files were gain matched, which is in itself an oxymoron, as there is an attempt in the algorithm to reduce the noise output by the corresponding amount of attenuation. You can confirm that the noise reduction is working against the original file on your meters in the sections of the recording where the Nova is listening only to the ambient noise. That said, the Nova still appears to be attenuating the entire file considerably more than the Cedar in the output of this experiment, however I wanted to focus on only the information that was either retained or lost. If you are hearing something in this file, that's what you've lost. If I had not gain matched the files, it would further highlight the volume drop of the treated version. In this case, you will hear that much more signal is lost on the Nova than with the Cedar. This is a good illustration of the trade-offs between nuanced algorithmic noise reduction and noise gating. 500981753_noiseoutputonlyNovaNR-3.aif 1762583870_noiseoutputonlyNovaNR-6.aif 1011908702_noiseoutputonlyNovaNR-9.aif 1880584940_noiseoutputonlyNovaNR-20.aif

Demo'd my buddy's B6's this weekend, and like many on here, I was contented and pleasantly surprised with the clarity. Using A10 transmitters is going to do that, I think, and I'd love to hear an array of mics through an end-to-end digital network... That said, the handling noise is well-beyond what I'm accustomed to. And I'm also so very thankful for the treatment advice on these boards. As a thank you, I got my buddy the bumblebee cable savers. With a name like that you can imagine they're great for a) load/tension release. A slack loop. What's the term I'm looking for? These will save you that moment where you prep a loop if you're in a hurry. b) they decouple the handling noise downstream of the cable saver, which in the case of the B6 is crucial. Unless you plant them all day. https://www.bubblebeeindustries.com/collections/lav-mic-wind-protection/products/the-cable-saver

Thanks for the tent idea and addressing the compactness, Jim. Nonetheless, I have the undercovers in the bag, because I don't like to be left from the party, but truly I'm whittling them down til they're gone. I think the size of them is more dysfunctional even than the fabric. But if the clothes and occasion for them are low stakes, I will pop them on and take what I get. (then I don't have to buy them again) I will try the BB piece of fur, and I did not have further success with the Invisible Lav Covers https://www.bubblebeeindustries.com/collections/lav-covers-tape-and-fur/products/bubblebee-industries-the-invisible-lav-cover I think they pose a challenge whether you assemble them along the weave or the bias (and who the heck but me is going to take a moment to distinguish between the two?) and the box is flimsy. I love the demonstration video, and my execution never looked as picture perfect, plus the side-loading technique just doesn't seem as intentionally designed.

I'm looking forward to reading the other replies, however the beliefs around showing the mic, not the choice itself, could be dictating how the interview is going to go. Bottom line for me, is the talent inspired? "Hate" really has no place on the set for me. In other words, did we create an environment where the most genuine content is going to emerge? If we can't use the lav recordings because of clothing rustle, then I've limited the creativity of the editor. If I've handled a non-actor in a way that they are unaccustomed (like reaching up their pullover or blouse), then will they remain candid and comfortable? This business of an interview being tarnished by a visible lav has more to do with how the lav is treated, not yours or my belief around it. We've all seen odd placement of a lav that draws our attention as an audience. Still, HATE is a big word. You see how the belief might be what's really getting in the way? That there are cavalier ways in which people clip mics is hardly a reason to dismiss over-the-clothes as a decision or technique when you are going out with a professional broadcast crew member or location audio person. Am I suspending my disbelief that this person is being interviewed or talking in an interview? Just because there's stage dressing or the camera person has a craft does not automatically make it verité. David, yes, I entirely agree. Some stations get accustomed to being more aggressive with inching the placement up, but for me it's still a cultural thing when I'm on a particular channel or show, and certainly, yes, as a consequence the signal is more loaded when people insist on those closer spots (I've had other technicians then come in and "fix" my placement. "When in Rome..." as they say.) Also, I've then limited the framing for the camera person.

Phillip, I'm also on the Sonotrim caboose. I'm either DPA all-in, or sonotrim, depending on the transmitters and channel count that day. I'd say they leap-frog over the tone and performances of everything else in the pack, IMHO (although there are new contenders, wired vs wireless, and now digital transmitters which can offer a more genuine image to compare) I demo'd this weekend what I guess are the B6's, and I've been planting them and only dressing them as a last resort. Still, one returned broken before we rolled, while I scratched my head. I surmised the full story when I noticed the area was still wet and the mic was moved. Someone poured water on them while I was in hair and make-up, someone else, not seeing the mic, wiped the area down and jammed it in between appliances and grit, the next person stepped and kicked on it while trying to help. Who's insurance does that typically fall under? If you consider it an expendable, then do I replace these at my own cost, make my own claim, or like media, do you itemize this in your invoice?