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Found 9 results

  1. Wondering if these would be any good for a IFB / reference track for camera. Cheap as chips. Obviously won't be as good as usual suspects (Lectro, Comtek, Senn) Anyone? http://www.thomann.de/ie/the_tbone_tour_guidetg_16_r.htm http://www.thomann.de/ie/the_tbone_tour_guide_16_t.htm http://www.thomann.de/ie/the_tbone_tour_guide_tg_c2.htm
  2. I have a Sennheiser G3 mounted and attached to a Sony A7s on a Movi. The hop is mounted to one of the movi arms. Levels sound good when movi is off but as soon as the movi is powered up there is a major hum/buzz and digital noise. I'm hearing that the A7s just has bad sheilding but any suggestions for keeping the feed clean? i've also noticed when you hover your hand over the G3 face, you will hear interference. What's that about?
  3. I'm looking to find a means to mount my Zaxcom RX900 camera hop onto an Amira. I know there is a mount coming out to attach a slot in RX (SRb etc) to the battery plate, but nothing as far as I know for the Zaxcom. What I'm ideally looking for is to mount a plate via the 3 screw holes just above the XLR inputs (see pic). I believe Hawk Woods have made custom mounts in the UK, but I'm LA based and ideally need something by the end of the week. I spoke to Mike at BEC this morning and he has some great ideas for an "L" shaped plate that will attach to the standard BEC zaxcom box, and that would be an ideal solution, but it's going to take him 3 weeks. I already have saddle bags, cold shoe mounts, etc, etc, but it'd be great to find a neater solution. No luck with the usual suspects (Trew, Location, etc) here, so any ideas would be welcome!!
  4. I'd like your opinions on this one please... The other day I was on an indie doc shooting on the F55. I was using a G3 as a wireless camera link (notice I didn't say hop) with the squelch setting on 'Lo'. At lunch I powered down the G3 Tx but camera dept. didn't turn off the Rx on the camera. When they powered back up before me the DP saw the audio levels being blasted with the squelch signal and told me to: Tturn it off or disconnect it because he had not yet paid for the camera and didn't want to damage the audio circuitry" I set the squlch to high and walked away. I just want to make sure that my initial feeling that he didn't know what he was talking about and was being more of a DB than a DP was accurate or to make sure I wan't in the wrong on this one. Thanks
  5. Yes, another "confused with G3" question... I recently bought two Sennheiser CL-2 "line cables" (as the product name says). I was under the impression that using these would let me input a line level signal into the transmitter, yet I find I would have to bump the transmitter sensitivity down to -51 to prevent the AF peak from lighting when putting out a max signal. Was I mistaken? As it is, however, have I understood correctly that to get the best S/N ratio out of the G3 in a hop type situation would be to attenuate the input signal from the source (I quickly checked - Nomad allows a -10 or a -35 dB attenuation on the XLR outs) and raising the sens of the transmitter? The -35 dB attenuation allowed me to raise the sensitivity to around -21 without the AF peak lighting up except very intermittently when tapping on a mic and hitting the Nomad limiters. Thanks.
  6. Hi all UK soundies. Does anyone know where I can hire a camera hop (Zaxcom, lectros or Wisycom etc) with all the cables and 'V-lock' mounting system. I would prefer Zaxcom (but not with TRX 900/STA combo) as I have experience with this but totally open to any suggestions. Looking for a week's hire in the week starting 5th of May. Any help would be appreciated. Thanks, Will. w dot planitzer at ntlworld dot com
  7. Shout out to my UK Soundies! Hope you're having a busy year... I'm looking at buying a wireless link to camera and could really do with some advise, please. I've found a lot of info on here and in other areas but nothing that hits the nail on the head. My question is: what frequencies are people in the UK using (and plan on using in the future) for wireless hops, given that some frequency distance is required between the hop and the adjacent receivers? I'm currently using the Audio Ltd envoy system (channel 38) and although my 4 mic RX (microns) are in the low end of the band and the hop TX is in the 22-24Mhz area, Im still getting loads of spray on my Mic RX when in the bag (no surprise as the Hz are still quite close). So, I'm wearing the hop TX on my belt and using my body as a 'RF sponge' but my range is still radically reduced. The hop TX are also on low output power, which i believe is 30mw. Now im looking at buying a hop so id like to know if there are any bands i could sneak into that are far enough away from the 606-614 band so as my hop could sit happily in the bag with the mic RX? The new zaxcom TRX900CL camera link looks perfect for me but im sure even with their attention to reducing RF spray, im still going to loose a lot of juice from my mic systems if the hop is used in the ch38 block. What are you guys & girls doing? Any advise is much appreciated. Thanks, Doug
  8. Hey Guys, I have been reading a lot of previous threads about camera hops but couldn't find one with people who have been using 2xLMa for TX and an SRa for a hop. I understand the range difference is the main issue with the LMa only providing 50Mw of RF power. But for the price difference I would love to get some opinions from guys who are currently using this set up in the field and are you finding that the 50Mw is providing a reliable enough signal or are you finding yourself hugging you camera guy to avoid dropouts. Thanks in advance,
  9. A few reports from users in the field on odd gain staging from the d4 into camera. Line level too quiet mic level too hot aes lines up quite nicely any thoughts? opinions? suggestions?
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