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Found 6 results

  1. So I am doing sound for a series of fitness videos coming up in a couple of weeks and I am struggling to eliminate the cable/headset mount noise that I am getting. I've been strain relieving the cables from the back of the headset to the shirt (using dual ear versions) and placing the headset as snug as I can get it but I still get some noise when the speaker is moving their head around. It seems like its coming from the cable and the frame of the headset itself. We are using the following: 3x Countryman H6DW5B (H6=both ears; DW5=standard gain for general speaking; B=Black color) - two with the SM (TA5) connector for lectros, and 1 with the SE (microdot) connector for zaxcom 1x DPA 4088-DC-A-B00-LH (DC=Directonal/Core Amplifier; A=non-flex version; B00=Black color with microdot connector: LH=Long boom/Dual Ear Model) I have very little experience working with headsets so I would appreciate any advice on how to rig these (being as low profile as possible is a priority). I want to have minimal cable/headset noise, however these will be fitness trainers doing a variety of different workouts. We may have burpees, yoga positions where arms will be outstretched either overhead or parallel to/on the floor with the trainer potentially down on their belly. Various twists where arms may be stretched across the body pressing up to either side of the head. Intense running in place or bouncing up and down (perhaps jumping jacks). Basically anything fitness oriented is a possibility and I am concerned about these mics holding up well to cable noise and staying in place throughout. First off are there any other low profile headsets that are known for an an extra secure fit as well as low cable noise? The company I'm working for already had the 3 countryman headsets, which they wanted to keep for this project and future shoots. There will be 4 trainers total, but only two on camera at the same time. After some advice from Gotham sound I learned that the countryman microdot cables have a bad reputation for not lasting so I went with the DPA 4088 for the 4th headset. I understand these sound different but as long as the each trainer only uses the same headset they are assigned their voice will be consistent throughout. There will be two talent on camera at a time. There will be one primary trainer wearing a zaxcom ZMT-flex, with a headset (either the DPA or the countryman), as well as a dpa 6061 chest mounted lav (the ZMT-flex having two mic inputs). The secondary trainer will do much less talking and pretty much just do the workout in the background. They will be wearing one of the countryman headsets connected to a Lectro SMa/SMQV transmitter. There will be no overhead boom. So I'm wondering if there is a better headset for this purpose for the primary trainer. First off all the mics are directional and I've heard that directional mics are more prone to handling noise. The DPA website says: "Due to their nature, directional mics are often used on the live stage – both during concerts as well as spoken-word events, to capture the focused sound of an instrument or voice. The narrow angle of sensitivity helps to minimize the bleed from other sounds on a busy stage. One thing to note with cardioid mics is the proximity effect, which causes an increase in bass response the closer the microphone is moved to the sound source. Therefore, when judging mic specs you should always look for a statement stating the distance at which the flat frequency response has been measured. In addition, cardioid mics are far more sensitive to wind, pop and handling noises than omni mics, so be sure to take precautions to guard against this." Not realizing this when purchasing the DPA I chose the 4088, directional version in order to match the directional countrymans production already owned. I also chose the 4088 over the 4288 because it looks more similar to the countryman and we wanted the headset to look as close as possible. But the 4288 looks like it fits more securely over the ears and may stay in place better. Its not to late to return/exchange the 4088 if I need to (perhaps for the 4266) and also could make a case for getting a second 4288 for the other primary trainer (only 2 talent on cam at a time). The countrymans on the background talent aren't as important. Or in this situation with this much movement would I be better off with a single ear headset like the countryman E6 or one of the single ear DPAs? Or something else entirely? Bottom line: 1) Im asking for any tips on placing headsets to stay securely in place and minimize any type of cable noise/pops/wind or breath noise. Either using what we have or something else you would suggest. 2) If anyone knows of any headset mic that would be bulletproof (or close enough) in this situation to minimize noise? And should I stick with a dual ear version or get a single ear version (for primary trainer only)? Thanks for any help - your responses will be greatly appreciated! Best, Josh nealjosh1@yahoo.com joshnealsound.com insta: @hey_this_is_josh
  2. I bought two countryman b3 and configured them for Sony UTX-B03 according to the configuration that the countrymand website indicates. Everything works fine, but when I touch the capsule I hear a noise. Sanken Cos-11, Sony, Lectrosonics, etc. They have no noise when the capsule is touched using Sony UTX-B03 https://countryman.com/images/wiring/B3_SN.png Some help?
  3. Here's my review of the Countryman B2D Cardioid lavalier. Got video so you can hear and see what I'm talking about. http://tyfordaudiovideo.blogspot.com/2014/02/countryman-b2d-cardioid-lav-another.html Regards, Ty Ford
  4. Hello, great community here. Couldn't find an answer anywhere, so thought i'd ask here: has anyone tried to use the countryman b6 caps (http://www.trewaudio.com/store/Countryman-B6-Protective-Cap-Flat-Response.html) over the OST TL40 lavs? Saw the threads here on reducing the pops on the TL40, but was looking for other options too. Thanks!
  5. Ben

    A Bendy B6

    Good News Everyone, A while back I was minding spacing out during a boring interview. There was no cell service and no WiFi so I was forced to use my imagination like a chump. I had just wrapped up work on the SNL documentary "Live From New York" and I was thinking about how hard a time I had micing up all those interviews. We had a whole string of famous and busy people. Every moment I spent wiring talent was time spent not interviewing. With all eyes on me, I was often forced to do a pretty shitty job - Praise Be to the Boom! Through the course of my mental meanderings I had a flash of insight. I am a big fan of hiding a b6 in knot of a tie - but I often had trouble getting the capsule through the knot quickly and without loosening the tie. How cool it would be if there was a way for the B6 to be a little more rigid and poseable near the capsule? Bam! - Shrink tube a piece of annealed wire near the capsule and you have your self a flexible mic arm that you can make go exactly where you want. Chris over at Countryman made me a prototype and I have been testing it. And it is amazing. Aside from tie knots is works great micing up people in all sorts of situations. The flexible arm allows you to mic people faster with less tape and moleskin. You can also flex the capsule away from trouble spots quickly and easily by just bending the wire a little. And even with the annealed wire and shrink tube it is still a super small. It is my hope to replace most of my B6's with this enhancement. Thanks so much to Chris Countryman for being so cool 😎.
  6. Hi All, First time poster long time reader. I have just bought my first Lectros- used 211/200c, three sets. I did a search of the forum, but couldn't quite find the issue I'm having. Search functionality was good though Here's what I'm doing, and the issue I'm having- hopefully someone can help me diagnose the problem. 211/200c w/ Countryman B3 (hot mic, extra crisp cap) into SD664. There's a noise/hiss which occurrs in unison with the syllables of dialogue/all transient sounds. The noise almost seems to 'gate', in the sense that it will only be audible with the passing of dialogue/transients. Very high end hiss/noise. I had this problem years ago in film school with some cheap Sony wireless, it was impossible to EQ out, it seemed as though the more top end you roll off, you just hear the noise in the middle of the spectrum. The level of the noise is not above the dialogue, it's well and truly 'back there' in the mix, but it's obviously there. The only thread I found which came close to this symptom was one regarding a compander issue where the entire program content was 'gating'... however this is not the case for me, it's simply the noise which gates in and out. It happens with all three Rx/Tx sets. I have only two Countryman B3s, and it's possible that one of the mics is less noiser than the other, but only slightly. Could it be an issue with Mic wiring? Or are my Lectros in need of a service? I don't think it's a gain structure issue, but will be very happily proved wrong. I've also switched out my leads running from Rx to 664, no change. Batteries are new and full 9V Duracell Procell (non rechargable). I am in Australia, the units came to me from Singapore, and are not the AU models. Help me Obi Wan Kenobi, you're my only hope. Cheers to all, and apologies to anyone who finds this topic has already been covered here. Travis Williamson
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