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  1. Hi What system do you use for wireless sound for the director. I am recording commercials with a small crew, but need to send the sound wireless to the director. I would normal use boom and one wireless mic on the actor. Would you send a mono signal or both boom and wireless mic ? I would like a small pocket system where it is possible to send a stereo signal. And a system that can run on batteries, instead of charging system. I would like to hear from yours experience. I am recording on a Sound devices 664. Thanks
  2. Hey guys, I may have a show starting later this year for which mobility and range will be paramount. Shooting in rivers, sand dunes, up trees, etc. So I've been dreaming up ways to solve the puzzle. Please excuse and forgive me if I touch upon a topic that's probably already discussed on here, but my searches haven't led me to this specific issue. I'm using an ORCA bag and harness with a 788 and a PSC Multi SMA. Talent Wireless is on blocks 24 and 26 (Sydney, Australia). I'm thinking of somehow mounting a small boom pole to the back of my harness and attaching a Lectro ALP650 to it, so that it hovers above my head. Is that ridiculous? What do you guys think? Has anybody attempted something like that on here? Any help would be appreciated! Cheers, pinky
  3. Has anyone had any success pairing an Apple Wireless Keyboard with the Sound Devices 970? If so, how did you do it? I'd also love to use it with my 633, but getting it to work with the 970 is the priority for now. Thanks!
  4. Does anyone here have any experience related to sending timecode wirelessly to a camera audio track and the workflow of using audio timecode in post? Timecode sync is essential for a upcoming production i will be working on and the style of Doc won't allow for TC slate or anything like that. Using the 664 I will be sending audio via 2 channel hop. I would like to attach a lockit box to ensure sync but there will be no TC I/O on the camera unless a extension is added. I'm pushing for the extension but if the budget won't allow it I, would the below set up work? 664 TC Lemo to TA5 female into the Lectro SMQV, then from the Lectro dual receiver to camera, To me this seems risky and it would be a massive headache, especially if in post if the TC can't be decoded for whatever reason. Also don't think pluraleyes will be an option as I read in this forum that it doesn't like multi channel audio files? Will be 8+ tracks poly wavs mostly. Any thoughts? Thanks in advance!!!
  5. For those of you who want to dig a little deeper into the SuperSlotTM open standard .... http://superslot.org/
  6. Jeff Wexler posted a clear and informative reply to Prahlad Strickland's question about diversity reception. Read it here: I posted my question there, but as it was off-topic I've re-posted here so as not to derail the thread. Lectrosonics' SR manual reads: "...the two channels can be used together as a single receiver in "True Diversity" Ratio Mode for enhanced performance in some environments." My understanding is that in Ratio Mode, the dual receiver SR "favors" the audio signal from the receiver with the stronger signal from the transmitter. If Ratio Mode on the SR is a combination of antenna diversity and receiver diversity, how is it better than receiver diversity? If I use a pair of receiver antennas (matched or not) in fixed positions for each integrated receiver front end in an SR, both receiver sections will have (presumably) identical range and reception from the transmitter. How does Ratio Mode purport to give a more robust signal than plain ol' receiver diversity?
  7. Hi everyone, pleased to touch down on jwsound for the first time. I will be shooting a documentary in Tuva, southern Siberia in the summer. Does anyone have experience of wireless frequencies in this area? I will be using G3's and possibly Sony UWP's. Or any experience of recording in this area in general? Many thanks, Lewis
  8. What are the advantages of setting wireless mikes to line level vs. mic when it comes to dialog scenes? My preference is to always set them to mic for any show where I am the main mixer. About 60% of the work I do is in reality TV and when I day-play for other reality shows that have their workflows already established, I've noticed that most of them have their mixers switched to line level for their wireless receivers. I am not one to disturb another show's audio workflow, and so I will mix the wireless mikes at line level for the whole day--No problem. However, what my ears tell me is that low level passages of dialog do sound very faint compared to when wireless mikes are at mic. The only thing I can fathom is that line level may help in mixing audio levels for talent that may shriek and yell a lot. If the sound mixers in the scripted field can chime-in on this also, that would be great. Thanks in advance!
  9. The new camera link beta testing has officially begun.
  10. Some days ago, I shot a couple of long scenes in a very crowded shopping center where the background was very loud. I had 3 Zaxcom LANC transmitters and, at the last minute, I had to add an other mic and I used a backup Sennheiser G3. All had Sanken Cos11 as mic. Yesterday, I listened at the files in ProTools and noticed that the Sennheiser had a better separation between actor voice and background noise. I compared it (it was mounted on a man) with an other male actor standing beside him, but having Zaxcom Tx, with the mic in the same position and at the almost identical level of voice and the Zaxcom had the background noise at a noticeable higher level. Someone using different brands of wireless experienced something similar (even comparing other brands than mine)? Coul it be a more aggressive setting of the Sennheiser expander? Just curious. Vale.
  11. This Wednesday July 30th! Join us at our Los Angeles branch as we host Massimo Polo for a special Wisycom Q&A session. Massimo will be discussing some future firmware updates, getting the most of your system, and best practices for wireless on set. The event starts at 10 am PDT. You can RSVP by emailing rsvp@trewaudio.com
  12. 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
  13. Selling a lightly used TRX900 transmitter and receiver pair that I used for about a year as a camera hop. It is block 24. Every cable you could need is included, as is the original blue zipper bag and a 4GB micro SD card. Price is $3500 firm. List of cables: -(1) 5 Pin XLR to 5 Pin XLR (Receiver to Alexa audio) -(2) 5 Pin XLR to Y Stereo XLR -(1) 5 Pin XLR to Y Stereo 1/8" (Receiver to RED Epic/Scarlet) -(1) Stereo Y XLR to TA5 (Transmitter input cable) -(1) 10' Transmitter power and audio extension snake -(1) 2 Pin Lemo Power -(1) 3 Pin Fischer Power -(1) P-tap Power If interested, please email bmartel@mac.com
  14. Captain Chris Wade and the SeaWatch SharkBoat is about to leave US waters on a mission to save sharks in Costa Rica's beautiful Isla de Cocos with a crew of 10 and boat full of GoPros, Canon 5D's, DSLR's and Final Cut, ProLine, etc... Every moment of every day will be documented. On the Boat (handheld and fixed), In the water (drones and diving), in the air (drones). This is a self funded production in conjunction with The Shark Research Institute and SharkBoat.org. Does anyone have any suggestions as to individuals seeking a write-off to a 501c3 for 2014 in exchange for some used/unneeded gear (Booms, Wireless, Mixer, etc...) that could be donated for this amazing project. Or a sound person/ DIT looking to come to Costa Rica for 6 months on an unforgettable journey that is assured to capture content that no one has ever seen before. "The Pirates of the Pacific" are about to enter "Blood Waters" and could use your advice!
  15. Can the ZaxPaq be used to house four QRX100 units with the MicPlexer placed connected from outside of the ZaxPaq? if so are there any drawbacks to this approach? Thanks, B
  16. Hello all, Just completed these videos last week and thought anyone interested in the L Series products might want to take a look. LT and LMb transmitters: LR receiver:
  17. Hello, I originally posted this in Current and am reposting here in Workflow. I am working on a travel show that has me going all over the country only spending a day or two in one area. I am using four channels of WisyCom (470 - 640) wireless for talent, two Sennheiser G3 as hops (mono to two cameras), and Comtek 216's. With all of this wireless, I am trying to find the best practice to coordinate frequencies in multiple locations quickly and efficiently. For the first week out it was a lot of receiver scanning in local hotels the night before the shoot and adjusting accordingly on location the next day but I'm sure that I am not doing the right thing. Any advice that anyone could give me would be hugely appreciated. This amount of wireless is relatively new to me as I only recently was fortunate enough to get the work that could require, and pay for, a large expansion of my kit. Thanks!!
  18. Hey all! I've been working on an Arena football reality show, and we've been putting some of my wirelesses on players during the game. The SMQVs are pretty snug in padding and gaff taped to hell, so they're holding up like champs, but as you can imagine, my lav mics are getting destroyed. The mic head is pretty tucked away inside of padding, but they're still taking on a decent brunt of impact. I've been using my B6s because they're fairly sweat proof, but between the impact and the yelling (my SMQVs' sensitivities are set to 1.5 during the games and the players still occasionally peak in unit), the diaphragms are taking a beating. I was thinking of picking up some Oscar Sound tech TL-40s because of their price point, but I was wondering if anyone could suggest some rugged mics that might hold up better in this situation. I've been shying away from my tram mics in this situation because my experience with them is that they tend to sweat out pretty quickly. Thanks!
  19. Just bought a CMIT5U and am getting ready to use it in conjunction with a Denecke PS1a power supply and a UM400a transmitter. Is there a distinct wiring configuration I need to use for the boom cable itself? Redding Audio's site says: "Special care must be taken if the CMIT 5U is used with an external phantom power supply going unbalanced into a wireless bodypack transmitter - pin-3 must be decoupled from the powering and pin-1 must remain connected. (Keep pin-2 hot and pin-1 GND)." Am i mistaken, or does a phantom power supply not only supply power across Pins 1 and 2 anyway? What am I missing? Any assistance would be appreciated. Thanks!
  20. I'm doing sound on a film that will feature mountain climbers. The director want's to capture ambient sounds as we shoot safely from the bottom of the mountain. He's expecting the climbers to be about one thousand feet above us. So my question is, can anyone recommend a wireless lavalier system with a reliable operating range at that distance? We will be in the middle of nowhere, so interference from other signals shouldn't be much of an issue. I use Sennheiser G3 systems now and I'm quite certain they will not cut it. Cheers, Jeff
  21. 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
  22. Scotty What


    So producer says they want to split the cameras to two different locations tomorrow. One for an interview and the other for recreation with four talent. I'm the only sound guy. She says they have an extra wireless microphone that the interview cam can use. This is a picture of what they handed me. When I stopped laughing, I broke a lectro out of my bag, set the cam up to record audio and wished the operator good luck. Note the MIKE in and out.
  23. Howdy People!, I have a set of Audio Limited 2040s which have been replaced buy my new Lectros [smqv and sbr] and i am considering using the 2040s as a wireless link to camera. Now i dont do very much wireless to camera so i dont have very much access to fiddle with a camera but i was wondering if anyone here uses the 2040s for that purpose and what tips and methods you peeps recomend. I have tried to find something on the site but i cant seem to find it but am more than happy to read off another link if someone knows where it is. Just so you know i am using a 744t 442 combo with now 2 lectros and 2 2040s. I have the appropriate cables and have tested them and they seem to be all good. Thanks in advance!
  24. As suggested by Jim, here is a single thread suitable for updating information and discussing current issues and activities that affect the radio spectrum we use in our work, particularly for our wireless systems. As Jim suggested I "moderate" this thread, please feel free to post information here, and I'll advise if there are any concerns... OK ??
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