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Curious if any of you guys have found any unexpected "household" items that can be repurposed somehow for live sound applications (ie. on the road, in the shop, load in, etc). Always on the look for useful hacks! Thanks

I've successfully use my F8-ZOOM and Sennheiser G3/G4 lavaliers on several outdoor assignments resulting in very clean audio capture. I recently used the same F8-ZOOM and G3/G4 lavalier setup in a indoor setup where there was a panel of professional people at a table discussing their specialty topics. I took every professional precaution that a good audio person should take, including "Scan New Frequencies" on location prior to video rolling. Even though there was quiet on the set after the call of "ACTION", because of the shear boredom of the panel discussion, several crew members were STREAMING their choice of entertainment (football, music, Tv shows, etc.,) with their CELL PHONES and headphones. COULD THE USE OF THESE CELL PHONES during my audio capture, cause intermittent, random, unwanted, cracking, hissing, static noice during my audio capture LivingAUDIO,

Hello all! I'm interested in what tracks you all are using to demo PA systems and familiarize yourself with a system you're about to engineer on. I understand the idea is to use songs you are very familiar with this way you can quickly determine certain characteristics of a new system. I realize that this is not a replacement for measurement. Here are a few tracks on my current playlist: Fragments of Time - Daft Punk Bad Blood - NAO Pulp Culture - Thomas Dolby Rainmaker - Keb' Mo' Africa - Toto Higher Love - Steve Winwood Dreams - Fleetwood Mac Do It Again - Steely Dan

Hello, i just found out that there will be a new camerasystem from Sharp: http://www.sharp-world.com/corporate/news/171107_2.html The interesting thing to me is, that the camcorder will have a MADI audio input? https://en.wikipedia.org/wiki/MADI So I really wonder why a camera should have an input like this? Who records more than 50 channels in one camera? Anybody knows why to use this input? What are use cases? Perhaps it is for big sport events? Thanks for your answers and greetings from germany.

Hello All, I would like to know if it's possible to get cleaner audio from a lav receiver to a Zoom H4N/H6? Is it possible to plug a 1/4 plug from the lav to the Zoom instead of the XLR to get better audio? Thank you.

Hi All, Post Production Audio Question: I have come across some post audio workflows and the topics of submix, buses and loudness normalization. It's a side of post audio I have not seen and it does provide cleaner and fuller audio, but I do have some questions about this workflow: To do the EQ, noise reduction, desses, etc.. for each audio clip is better to do a submix bus for each audio clip and do the EQ and other stuff OR do a submix bus for that one track and do the EQ and other stuff? and after the submix bus then do the loudness normalization? Any answers and suggestions are welcome. Thank you.

Hello, I am a newbie in audio and would like to get on set experience on audio department. I would like to start as an audio PA and work my way up to boom and to mixer. Based in NYC. Thank you.

Hi, I've been running with Sennheiser G3's so far, and I'm thinking of upgrade possibilities. I've formerly used rented Lectros, which are always nice (except that one time they were popping all the time, this apparently had something to do with incompatible DPA lavs), and also have a Nomad so if I had a lot of money, Lectro or Zax would obviously be a sensible choice (then again I hear about people in Finland having trouble with Zax wireless, I wonder if that's already sorted out). However, two Audio Ltd Tx's and their dual channel diversity receiver would cost me around 2000€ less than a pair of Zax or Lectro channels so I'm trying to gauge whether to try and save up or go with the Audio Ltd's. I came across a pair of En2 tx's and non-diversity rx's once. I actually had quite a lot of dropouts while in a supermarket, though I think it might've just been the environment, and I suppose if I were to get their dual channel receiver with diversity the situation would be better anyways. Or have people experienced range issues with these? How do you perceive the sound quality on the En2 system? On the G3's I notice some noise in quieter environments, is the noise floor on En2's significantly lower? I Can't really tell from my earlier brush with the En2's since the gig was in louder environments. Also, the En2's have locking TRS connectors for the mics, are these with the same wiring as the G3 connectors? This would sort of be a bonus towards just getting a pair of Audio Ltd channels for now, since I have a pile of OST and Rode mics with Senn connectors. Thanks for any experience you might be able to share!

I recently dropped and NP1 on a shoot, and found a crack on the shell that exposes a bit of the battery near the connections. For now, I've carefully super glued the thing together, but I know that wont last. Is it possible for me to just buy another NP1 plastic shell to re-house the battery? Is that even possible to swap it?

Full Time audio work available. OB/Remote sports production and EFP/ENG focus. Great benefits. Associate Audio Engineer position in NE

Hey Guys, Just a quick question, I have been reading about on set music playback in the forms, and I couldn't find how exactly to make a Timecode Audio Track in Pro Tools. What do you guys use to generate that audio? Third Party plug in? In Pro Tools method? Standard audio files that you use over and over? (I have PT9 on a iMac.) Thanks guys

Hey all, I was searching around before posting this, but I couldn't find it immediately (I hope I didn't miss a big thread on it). I notice that I'm recording audio from laptops more often than I thought I would be (all for broadcast work where a subject is sitting at a laptop listing to some random audio). The producers/camera man just ask me to lav the laptop speakers, but that creates various other problems including just bad quality. I would love to find if there's an aux > lemo5 or aux > TA-5 so I could just get direct audio out of the laptop and hook that up to a transmitter. Now, I know that would stop audio from coming out of the speakers, so I would also have to find a solution for that. I was thinking of also having this Aux out cable split so that I could hook up a small speaker and have the audio come out of that for the person at the laptop. Normally I would be fine with just securing a lav to a laptop to allow a bit of reality with shitty speakers, but I had some weird sounds because the speakers were hidden underneath the laptop on the last shoot. I just want to have a cable as an option in case that happens again. Also, what are your favorite ways of mic-ing up a computer if you want to include some of the ambient room noise?

Recently, the rapper Jay Z relaunched the subscription streaming music service Tidal, which includes the option to listen to high-definition audio for $19.99 per month. Tidal's HiFi, with its uncompressed audio files, promises a better listening experience than any other streaming service on the market. Many listeners cannot hear the difference between uncompressed audio files and MP3s, but when it comes to audio quality, the size of the file isn't (ahem) everything. There are plenty of other ingredients to consider, from the quality of your headphones to the size of the room you're sitting in to, well, your own ears. http://www.npr.org/sections/therecord/2015/06/02/411473508/how-well-can-you-hear-audio-quality

This is the 1st part in an ongoing weekly series looking at the audio post production workflow. We have enlisted the help of top end professionals in their respective fields to walk us through what they do and sharing some tips and tricks along the way. The series will be based on TV drama in the UK and these days takes a lot from the film workflow but also a lot of what applies is very similar in other genres all be it not on as big a scale. Part 1 - Assistant Editor, preping sessions Part 2 - Assistant Editor, preping sessions Part 3 - Dialog Editor, setting up dialog sessions Part 4 - Dialog Editor, preping for ADR and finishing the dialog edit Part 5 - Dialog Editor, marking up for ADR and handing on to the re-recording mixer Part 6 - ADR on location - part 1 Part 7 - ADR on location - part 2 Part 8 - Foley - part 1 Part 9 - Foley - part 2 Part 10 - Sound Effects Part 11 - Mixing part 1 Part 12 - Mixing part 2

Hello all, I recently discovered this forum and am learning new techniques/knowledge each time I log on and read. I wanted to reach out and ask for any advice anyone can lend? I'm based out of Austin, Texas and have primarily worked on shorts, several independent feature films, a couple of feature documentaries and am looking to take that next step up the metaphorical job pole that is the film industry. I'm a hard, disciplined worker who is always willing to learn new and innovative ways to capture the best audio possible. If anyone in the Austin/Central Texas area is in need of a boom operator or a sound assistant, I would greatly appreciate any and all who reach out to contact me. Thanks!

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!

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:

I posted this on my blog today. You are welcome to check out the post with all the pictures attached if you like here or read below: ---------------------------------------- I recently got a Schoeps CMR. It is a single cable solution for connecting a bodypack to a Schoeps MK series capsule. I'd like to start off by saying that if you love the sound of the Schoeps Modular MK series capsules as much as I do, and also use them for your primary plant microphones (in cars, on desks, etc.) you will LOVE what this product does! There were two ways (before the CMR) that we would use the Schoeps as a plant with the following chain of gear: Plug-on Transmitter: MK41 Capsule > GVC Swivel > Colette Cable > CMC6U Power-supply > Plug-on Transmitter A fairly straight forward process and fairly simple chain of five pieces. Bodypack Transmitter MK41 Capsule > GVC Swivel > Colette Cable > CMC6U Power-supply > Denecke P48 Box > XLR to TA-5 Cable > Lectrosonics SMV Transmitter This works, but it get's more complicated because of the need to introduce phantom power to the mic. The chain is eight pieces long. Then you add paper tape & Joe's Sticky Stuff (don't have some? GET IT! Miracle product for plants). As you can imagine, that can be a lot of different bits to grab, sometimes on a moments notice. With the Schoeps CMR and the Bodypack Transmitter: MK41 Capsule > GVC Swivel > CMR Cable > Lectrosonics Bodypack. This cuts the gack in half for bodypacks with a chain of four (or three if you prefer not to use the GVC Swivel). How does it work? Are there tiny German unicorns on a miniature hamster wheel stirring up the phantom juices to make this amazing product work? No, but that does paint a nice picture! (Bonus points for whoever actually PAINTS this picture, I'll attach it to the blog.) According to the manufacturer about the CMR: low power consumption: only about 1/20 to 1/48 that of a phantom-powered microphone So, it seems they have found a way to use the small current that the Lectrosonics bodypacks output (that can also power a Sanken CUB-01 for example) and use it to power the mk41 capsule. The Downside? Are there any downfalls? Well, like all things, the Schoeps name does not come cheap. I've seen it retail for between $659 and $770. It may sound like a lot to pay, but when you consider you don't need a expensive CMC6 to power the capsule when used as a plant, it is a pretty good deal and greatly simplifies a way to get that sweet Schoeps sound! The CMR will NOT work with the CUT1, but does work with the DZC- pad and GVC swivel. It will also not work with Zaxcom Transmitters. Also, it is a little bit bigger at the connection to the capsule than a Colette, but considering everything in the chain that it eliminates, this is negligible. Conclusion: That being said, I've already put it into play on set. The CMR worked like a charm. I'm sold! Notes: Some information about the CMR I found at Posthorn: ** For Sennheiser SK50 transmitters, the CMR must be ordered with the termination installed by Schoeps. It is only available with a 2 meter cable. We do recommend that all terminations are installed by Schoeps. Schoeps has confirmed compatibility with current and legacy Lectrosonics (TA5F) models, Audio Ltd. and Sennheiser SK 50. Other connector terminations available as a special order - exact wireless brand and model info is required. The Schoeps CMR will NOT work with known Zaxcom transmitters or the Sennheiser EW Series. The CMR also will NOT work with Colette Active accessories (e.g. CUT1, KC 5g) or the BLM 03 Cg. A DZC- pad or GVC swivel are the exceptions and can be used. THANKS! The Schoeps CMR was courtesy of Scott Bolland of Redding Audio & Christina Zofia Wittich of Gotham Sound. Many thanks!

Just wondering if anyone is watching/listening to the world cup this year? I see bigger rycotes on the ground by the nets, in the corners on the sidelines. You can hear it all from the crowd cheer to a kick of the ball. Just interested - thanks!

Hello, I am getting two sets of audio ltd 2020 radio systems and have a choice of either sony or a tram mic. What would you say about them and which is a better value you think? I already have two micron sets with dpa 4060 lavs and so i am used more to their form factor. Which one sounds better with audio ltd systems in your opinion? Thanks, Bartosz

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!

Hi guys! I was in a meeting about an upcoming TV series yesterday when the producer dropped in the old "oh and we'll get the presenter in a swamp and he might dive in." Having never been presented with this problem before, I thought it best to ask those who may have. Based on this conversation, I imagine I'd have to purchase a water-resistent transmitter, but how best to protect the lav when / if our guy gets submerged in muddy water? Any help would be appreciated! Cheers, Eren

So the bottom of this NP1 cup has been peeling back over the last few months, but I've been taping it down as a workaround. Has this happened to anybody else? I'm wondering if it's worth returning it for a replacement.

Hey There, I have a Professional 442 Mixer and a Korg MR-1000 - 1-Bit Professional Digital Mobile Recorder for $1500 OBO. 1-bit Future-Proof Recording 40GB Internal Drive XLR/TRS Combo Inputs XLR and RCA Outputs USB Port Specs Here for the Recorder: http://www.soundonsound.com/sos/mar07/articles/korgmr.htm http://www.bhphotovideo.com/c/product/485879-REG/Korg_MR1000_MR_1000_1_Bit_Professional.html Mixer is included as well! Thanks for your time and have a great day! Nick Text or e mail 323-456-3580

Hi, I have an AES breakout cable (terminating in XLR) for my Nomad and also the Remote Audio mixer cable for Nomad. I'm wondering if it's possible to successfully and reliably transmit an AES signal through the Remote Audio cable? It would be into a Sony XDCAM (don't have one handy for testing). I think I remember reading somewhere a good while ago that it's possible to run into problems running an AES signal through "regular" audio cables, so I wanted to check. Thanks!