jonathan chiles

Good recommendations above.. I would stay away from the ME series. Another option could be an old MKH406 which is a cardioid and matches the 416 very well.. god sounding mic when used close in. You'd probably have to settle for T-power but those turn up on ebay for $300-$350 quite often.

This is a few ambiences (glued together) that I recorded on a Sony PCM-M10 in the Amazon jungle, Acre Province, Brazil last year November for those of you who like these type of recordings.. enjoy! https://soundcloud.com/pair-of-ears

I've got some Amazon jungle ambiences if you need. https://soundcloud.com/pair-of-ears

Had a few mics worked on at Redding a few years back. They clean the capsule and also tune the RF circuits which are present in all the mkh mics. My 50 came back with a deep scratch on it but was pleased to have them all back to factory specs as they were fairly old mics also. Turnaround at Redding is quite quick too.

I seem to remember a thread on jw some time ago about someone using EX3s with lockits (not sure if genlocked or not) and that the cameras still drifted away from each other and the audio code.. I just made a mental note to not trust those cameras. I would use a lockit/SBT with both TC and Genlock cabled and if possible do a test.

Pretty much all of them

Some would say that a TC slate would be overkill with the Alexa..with us being able to jam the onboard clock and then still having the clap of a dumb slate. But I do like seeing my slate get used

John Quinn and CW, could you please take your personal conversation elsewhere? Most of us just want to read about the timecode devices..

I have heard good things about the D50, I have the PCM M10 from Sony and although the imageing sucks (2 omni mics 2 inches apart) I managed to get some pretty satisfying ambient sounds on a recent trip to the Amazon. http://www.bhphotovideo.com/c/search?Ntt=sony+pcm-m10&N=0&InitialSearch=yes&sts=ta

Just completed a commercial with the Alexa without incident.. jammed the camera from my 788 and rejammed after frame rate changes and after location moves. For some reason production requested a TC slate as well, I was happy to have that as a backup and score the extra rental.. I think I will recommend this route in the future

Always use the stereo indicator when sending tone, on/off on L channel.. then you know if you are receiving 2 separate channels. C300 Is not that much different from old school shoulder mount Varicams and XDCams. we just have to self power our receivers and get creative about where to mount them. Previous generation ENG cameras never had dependable timecode generators built in either.. At the end of the day its usually the shooters that suffer with a big clunky rig.

Just used this mic on 2 jobs and am starting to like it. Its working very well in Rycote WS1 winshield with home made cut down 90 deg XLR. Mic has good reach and great detail and the pattern is slightly wider and softer edged than a 416.. all in all I like it and makes a goos addition to my package. Oh yes also surprisingly not bad on interiors even with hard surfaces.. But I'd still reach for the 50 for those situations given the choice, my 2c

Hey Callou, I have been doing the same using velcro or even doublesided tape to stick my SR Rx onto the G2 Hotshoe plate.. its worked very well and is nice and light Look forward to hearing about these little Betso boxes from users in the field.

Just did 4 days with C300 single system with SRA Rx velcroed to the back of the LCD screen, not ideal but it worked out ok. Also had a Sennheiser G3 Tx velcroed elsewhere on the rig so client and agency could monitor audio not to mention the Transvideo Titan transmitter magic armed off the side as well..

Have been hearing from a few fellow mixers locally that new firmware on the Alexa has resulted in unstable timecode. I have always just jammed the camera from my 788 or SB-T and switched the camera back to internal clock to run for 4 to 6 hours at a time. Anyone else have any problems of late?

I am far away at the tip of Africa so might try and get something made locally.. The KT stuff sounds good and the TAi solution looks superior to MTO.. I found the stitching on the straddlebags just falls away after being used daily for a few weeks. Thanks for the suggestions!

Is the quality of the Betso gear up to the likes of Ambient and Denecke? Been wishing Denecke would come out with a little box like this with an LCD..

Thanks Malcolm I will try and pop in and see them when I am that side of the world

I have purchased a few of these over the last 5 years and all of them have surprised me by basically falling apart after very little use. For what they cost these things should be made way better than they are. Hoping MTO will up their quality or that another manufacturer will give us the option of something better.. pictured is my SWB1 straddlebag which has been used very seldom over the course of 1 year and already is shot..

Vin can you post a pic? Is it housed in a solid barrel now with Female one side and Male on the other, kind of like the Schoeps LC60U?

Interesting, thanks for your report from the field Olphi.. I havnt got one of these yet but seems like its the perfect match to the sennheiser 8000 series.. I hope that Rycote will be able to improve shielding somehow and let us know.. I also do mostly doc work and dont like unexpected signals coming through the headphones when we cant cut and do things again

I have my 8060 on the way to me (courtesy of another jwsound member:) and plan to use the WS1 that I have been using for the Sanken CS1e up to now. I have just cut down a neutrik female connector to decrease its length and looks like the front and back will protrude about 1/4" each side into the end caps which I dont think will be a problem. The WS2 will definitely have adequate room for this mic.

Super lightweight bag I just used for 3 weeks on a doc. We shot with two Nikon D800's. No timecode required.. editor insists that they sync with pluraleyes and that no scratch feed required either. I was very glad having this light bag and not a 788 with Lectro 411s as we spent between 4 and 8 hours hiking some days. The little Sony M-10 also turned out to be a very reliable and great sounding little recorder. The internal omnis provide a quick and easy way to get stereo atmospheres as well.. not fantastic imaging of course but fast to deploy wins imho.

Have had this with the NP-L60s as well. Occasionally a charged battery has the cutoff circuit activated somehow... you put it back on the charger and it bounces back immediately. Happens from time to time and I keep meaning to go through my power cables to see if I can find a fault. Strain relief on 4 pin Hirose is always dodgy and if the two wires twist a bit a short can happen..

Would also like to hear more about mkh8060 vs mkh60.. from what I've read its closer to the 60 than the 416 but still interested if people prefer it generally (most people know what the 60 and 416 sound like) and also if handling noise is any more than what you would find with the older mkh mics. Senator will come along now and tell us that its subjective...