Korey Pereira

Pulled the trigger on an Ambeo VR. Should be in next week!

Has anyone by chance done a comparison between the Ambeo VR and Tetramic?

Agreed, thanks John (and Ramallo) for the in-depth responses! I am leaning towards moving on the Sennheiser as I don't quite think I am ready budget-wise to jump into the Soundfiled offerings yet! If nothing else, if/when I do upgrade again it sounds like the Ambeo would be a good one to have in harsher recording environments / as a backup. I will share my findings once I have it and have a chance to take it for a spin. Thanks all!

Anyone had any real world experience with the Ambeo VR yet? I am considering picking one up for ambience/bg recording for film and some potential VR work. No one in Austin has one available to rent/test, so wanted to get input before making a blind purchase :-)

Hello, Working on a doc that is partially set in rural Iraq / Afghanistan. As a lot of it is shot in 3D, I thought it would be nice to include some Ambisonic backgrounds as a layer in the mix. Thought I would see if anyone had any they would be willing to share!

I also use the Hawkwoods to power my 788t+SRb and this would make my life so much easier - looks like it is time to get a new bag with a bottom hatch! Thanks for the idea!!

Marc, Yes, I see myself using Wave Agent much more. I will have to make it a later purchase, but I am excited about the CL-Wifi as well. I have always been in the habit of naming tracks/takes/folders, so wont be much of a change there. With the 788 and a keyboard (and eventually CL-Wifi) it will be much easier to enter notes, which I feel like was my biggest reason for holding onto paper logs for so long. While I am still a young(ish) guy, I often feel I am behind the times :-)

pkautzsch, many thanks - that was exactly what I was looking for. After reading through everything, that seemed like the most logical choice, but good to have confirmation the R gets dropped. I try to keep meticulous logs with good ol LSC 2-track soundlogs, but will probably start going digital w/ the 788t. Went ahead an ordered one of the recommended usb keyboards which will make that a bit easier! Thanks again!

I am excited to be upgrading my 744t+442 to a 788t+CL8 and have a quick question about track assignment. With my previous setup, I had always done a mono mix on the 442 sent to camera and 4 isos recorded to the 744t. With the 788t I am looking forward to being able to also record the mono mix track. Also going to (hopefully soon) be using the 788t for ambisonic / quad ambience recordings for my work in post. My question to y'all 788t users is: are you putting the mono mix on the L record track or are you putting in on Track A or X1/X2? If nothing is assigned to R, will it NOT record or will I get a blank track? My goal would be to have the mono mix show up first, hence my leaning towards the L, being able to keep my 1-8 to A-H assignments for Boom followed by lavs. Interested to see how folks are routing things!

Looking forward to trying it out!

Hummm... Very interesting. Looking forward to trying this out at some point!

Agreed, thanks for sharing - is there any trick settings wise to getting the EK100 to receive the signal (other than tuning to the right channel of course)?

I forgot to mention model / iOS in my email. 5s running 7.1.1 I too also have an iPad 2

Thank you all for your input! So after stewing on it for a few days, I decided to go for broke (literally) and opted for an SRb + (2) SMV after all! I feel that in the long run, this will be a much better investment and last me a lot longer than an older system like the 210D. I agree with several comments that the G3s still have uses, especially as mono hops to DSLRs / timecode (hadn't thought of that one) / video village. I am going to sell one of my G3-B units + SKP100-B to help offset my purchase. For now I am going to hold on to my two working RX and one TX. Thanks Constantin for the suggestion - I have sent my dead TX off to Sennheiser for repair. NOW the last thing I need to do is figure out what to do about mics for the SMVs... I do have a Countryman EMW tan and a DPA 4061 Lo-Sens both wired for Senn G3. Would it be a better idea to have these rewired for the SMV or sell them and put the money towards (2) Cos11-D? Thanks again for the support from everyone!

I am currently using G3 wireless for production sound. I have 3 sets that I use for a combo of mic'ing talent and wireless hops to cameras for scratch. I recently had a TX go out on me. It was working one second and would not power on the next. This has me thinking about taking this opportunity to move to lectrosonics. Two factors leading me towards going lectro: 1) Better range, 2) less scrutiny from producers / camera ops for using G3s. While I would LOVE to pick up a SRB + (2) SM transmitters, it is not in the budget as I primarily do post work these days. What I am considering is a used UCR210D/UM200C, which is more in my budget. My question: is this a good choice vs sticking with another G3?

I was able to get a deal on the RX3 ADV to RX4 ADV upgrade. PM me and I will pass along their contact info.

I made the upgrade the upgrade from RX3 ADV to RX4 ADV just in time to use on DX editing for a feature this past week and... WOW! I agree with tombackus that I had to crack open the manual to understand the new RX Connect (roundtrip from Pro Tools to RX4 standalone). Took me a little while to get into the rhythm, but find it is actually more intuitive vs using individual audiosuite windows. I found the Ambience match super helpful, but mainly used it to create nice long roomtone for a handful of scenes where the BG dropped away between setups. Basically found a section of tone, used the "Send as Reference function," then made an empty selection on a track where I want roomtone to go, which I send roundtrip. Once inside RX, I used the Ambience "Learn" button to mull up a spectrogram of the tone, remove any clicks, pops, bangs, then "Render" it to the empty selection in Pro Tools. When you complete the roundtrip, I then had very usable tone! I used it for 5 or 6 scenes? That alone sold me. I haven't used it yet, but also see the "Make my file level-legal" as mentioned by Phillip, but see that being a nice QC check when television picks up later this year. Thumbs up from me.

So, I picked up a used 744t after all. As much as I would LOVE to have a 663, I got a good deal on a used 744t. Thanks again for all the input!

I will be getting production sound this week and it looks like production may have actually captured a decent amout while on location. Will have to see what all is there. Yes, if I don't have what I need, a trip up there might be the way to go (if time allows). I also have a friend up that way that might be willing to take a drive for me.

I have a 4ch mixer I am planning to use if I do go with the 744t, but agreed - it would be nice to have 4 isos + mix, which is what I see as the big benefit of going for the maxx. Perhaps I will hold out long enough to find a used Nomad Lite as that being a more long term solution. I also have to say that seeing this shot of Simon B's minirackcart makes me want a Nomad even more - I forgot you can use that with a Mix8.....

Malcom - very much agreed when price is not a factor. I was more considering the 702T/R4Pro as a more affordable option to "get it now" vs. continuing to rent a 744T. I have since decided to hold out for a few more gigs and push my budget into the range of a 744T/MAXX in the near future vs. continuing to rent long term and save for a 664/Nomad/788t. As discussed earlier, this will give me a professional 4/6 track option w/ timecode that I will be able to use for most gigs, which will save on rental. If I start doing work that regularly calls for more than 4/6 tracks, I will then have a solid backup / lightweight kit when I do go for someting with a higher track count. I could also consider renting a second 744t (readily available in Austin) and using CLink in the meantime. However, most of what I do now is only 3-4 channels...

Hahahaha.... how true is that! Normally I agree and just go with whatever works for the scene - this particular film is almost all bgs + foley w/ light DX/MX. Hence making a BIT more effort that usual to be accurate. Again, thanks for the input!

I am using RX 3 Advanced (upgraded from RX2 Regular) on a Feature Doc and it was been working wonders on even the WORST of it. It is all shot in Central America and almost everything is a camera-mounted shotgun in a sofie. I have been using spectral repair to get rid of all the camera handling noise and LF wind rumble. The new Dialogue Denoiser + Denoiser in Adaptive mode have been great for all the broadband noise. I have also been using the ReReverb to great success on a few interviews. For HF hiss, I have been using an instance of Waves' WNS on my DX tracks with the uppermost band set to 20khz and dropping that down as needed w/ automation. What is everyone else doing to get rid of HF hiss with RX? There is one sequence where there is a kid up in a tree delivering lines with only the camera mounted boom down below. I was able to strip out the LF rumble w Spectral Repair + Dialogue Denoiser + Rereverb + WNS for the hiss that yielded an end result that makes is sound like he was wearing a lav! Gone are the days of using C4+BNR!

There is a variety of spaces I am looking to fill. Open fields, wooded areas (light birds), streams (all locations - early morning, mid-day, night). I have plenty of generic wind, blowing grass and water ambi to take care of those types of scenes. It is primarily the wooded shots and night ambi that I feel are the most important to get right (anything with light birds, cicadas, crickets) as those tend to be geographically specific. I will probably be able to use a few from FS.org and still need to reach out to Michael Raphael. Crussell - if you have anything relatively desolate (as far as wildlife, ect), I could use a few gentle wind through trees, blowing grass, night ambi if you are willing to share! Again, I will go generic for anything I can't find region specific as MOST casual viewers won't know the difference. Thanks all!

Nick, Thanks for the offer - If I were in LA I would LOVE to get my hands on a MAXX. I have always used a Sound Devices and agree with Philip that the 744t is very intuitive once you spend some time with it. Also, I will have to try using the 744T with a Keyboard - I guess I knew you could do that, but would actually be really helpful. I wish there was a Zaxcom Dealer in Austin (or Texas for that matter). For me personally, I am going to continue renting a 744t for the next few gigs lined up and then will be deciding between a 744t and a MAXX (6ch rec option) - I think it will ultimately come down to which I can get a better deal on. Thanks to everyone for the great input! I have been using the site passively for years to find answers to most of my questions. Decided it was time to start participating!