Patrick Wilcox

Telefunken is releasing a new amplifier and capsule system small diaphragm condenser stereo set. For $1795 you get 2x amplifiers 2x cardioid capsules, 2x hyper cardioid capsules and 2x omni capsules. A seemingly crazy price point if it can deliver as promised.

Did anyone get a chance to listen to these at AES or have defensible knowledge of how they might behave with vocal response, RF, moisture and handling noise? We loved Telefunken during my studio days but I haven't heard even a whisper about their use in production sound.

http://www.soundonsound.com/news?NewsID=17735

I'm making a timecode cable for ERX2TCD to 5 Pin Lemo for Red One Cameras. I'm planning on wiring Tip (3.5mm TRS) to Pin 2 (5 Pin Lemo). Do I need to wire ground (Pin 1 for RED one)? If so were does it connect on the TRS? New to making timecode cables. One day at a time...

Just bought a Mod Mic 4.0 for 7506's. I'll report back!

Great. M-216 P7 it is.

Funny how this little guy will probably outperform my 1w amp and corner antenna zaxnet set up range wise, (but won't change the gain on my trx's.) Thanks all for input.

I'm investing in a Comtek system to compliment my (rather extensive and elaborate) ERX2 IFB config.

I've read the all the literature I can find. Looking for practical guidance on the difference performance in terms of range and fidelity of the following:

M216 (10 mw)

M216-P7 (10 mw) (will these either of these two cut if for cart use with the right antenna configuration? I'd like to go this route if realistic. I heard a M216 raised on the mast works quite well for some.)

BST75 (100 mw)

Thanks in advance. - Patrick

Looking for a sound mixer with boom, timecode and 4+ channels of wireless for a full day 6/20 and a half day 6/19 for a TV documentary shoot in Semiahmoo. Please reply as soon as possible via email or TEXT to patrick@hawkingfilms.com or 503-891-0075

Thanks

I'm on another shoot, so I can't make the flight from Portland. It's for a sports documentary tv shoot about a football team. Please feel free to text me at 503-891-0075 or email me a pwilcox06@gmail.com

4+ channels wireless, mixer and recorder, timecode and boom.

I'm shooting tomorrow, so no calls please. Thanks.

Does anyone have experience making a claim with MusicPro? We're not primarily music engineers, after all. I'll get a copy of their documentation in the mail in a bit, but wanted to check here first.

Stunning work Michael. I'm off on my own 80/20 adventure now, constructing a new Nomad/Mix-8 cart and follow cart. I'll be looking to this thread for inspiration!

I get great results laving guys during AFL games from a sound perspective, but worry I'm not fully protecting gear. I'd love to hear from any NFL films guys on game day procedures for micing players with Zaxcom systems. Mic bras, etc.

Any other input always welcome. Thanks in advance.

Nice one. Thanks for the responses. I've got 4 DPA and 4 LMC en route.

Simple question here: do you prefer the DPA brand concealer (DMM0012) or the LMC Sound C Mount Vampire Clip for hiding 4063's. I'm interested in all of the obvious performance benchmarks, such as transmission of clothing noise.

LMC: http://lmcsound.com/products/c-mount/

DPA: http://www.bhphotovideo.com/c/product/545888-REG/DPA_Microphones_DMM0012_DMM0012_Miniature_Concealer_for.html

Any updates? Haven't anything from DPA for over a week.

Thanks for posting. I have the problem as well in block 21.

Doug can you describe the problem? Or post a sample.

I have serial numbers R120893 and L06613 on order. Does anyone know if these are in the clear? Appreciate the help.

Anyone hear anything about this from DPA after October 28th? Waiting on 6 4063's...

Thanks Philip,

Going with o1v96 in a SKB 16u rotoshock

Hi All,

My basic question: for the frequent flying mixer, do you prefer to break your sound cart and contents down into pelican cases or to use a shock absorbing rack mount case (i.e. SKB)?

Details: I'm building a first proper sound cart. I'm drawn to rack-mount carts, as I like the idea of not having to build out the cart often, but open to being talked out of this. I travel for shoots as a bag based mixer an average of two weeks a month, so I'm often flying. I'm in talks to do a feature overseas and need some advice on putting together a traveling cart, but I'll also be mixing independent films in my hometown of Portland, OR.

The cart will need to hold:

-Zaxcom Nomad

-Mix-8

-3x QRX100 + Multiplexer

-Shark fins on antenna tree

-IFB antenna

-2x 7" monitor

-Case or drawer for 6 TRX900's and DPA lavs in micro cases and 2 CMC6MK41's

-2x booms

-Power section (Still working this out, maybe PSC LiFE battery or just NP1's and BDS v4 or Furman, PSC Power max and marine deep cell batteries)

-cables, headphones etc.

I'm interested in building the cart myself out of 80/20 aluminum extrusions (thanks to Jeff Wexler for that) and have the assistance of a good friend who is a medical cart designer at Moto.

Advice from anyone who has build a Chindha style sound cart or rack-mount sound cart that travels well, or has another option would be much appreciated.

Went for the Nomad 10.

Upgrading from 744t to Zaxcom Nomad. I'm leaning towards the lite as I'm used to jam synching TC via lemo periodically. Do you guys recommend purchasing the 10 over the lite initially and saving $350 plus shipping for a Zaxcom factory upgrade to Nomad 10 later if necessary?

Shooting on primarily on Red and like the idea of wireless TC to maintain TC synch after reboot, but also interested in TC buddy system as a workflow down the road. Also sending wireless feed to director or scriptie could be useful, but haven't had that request during 744t days.

Other benefits that Nomad 10 users have enjoyed that no Nomad lite workflow exists for?

Thanks for the help!