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  1. My new MKH8040 (serial no.: 1142022778) has a problem with movements. Even with small movements or position changes, it produces occasional clunking noises. Not too loud but clearly audible in the headphones only. I have sent it to Sennheiser Germany 2 times as a warranty claim and both times it was returned without repair saying "unit within specification". - I suspect they did not open it and they did not contact me before returning it. As owner of several other MKH series microphones (MKH8050, MKH8060, MKH50) I know that the microphones are sensitive to wind and handling noise, but mechanically they are very solid. Does anyone know the problem or has anyone experience escalating the concerns to Senneiser Customer Service? Is there any way to repair the microphone or do I now have to sell the microphone on the second hand market to a victim and hope that it is only used statically? How do you handle it when expensive gear just is not beaving "bulletproof" ? Chris
  2. Hi all I use a G2 for agency/directors headphones. It works well but sometimes is a bit limited on range. I know i could buy a half rack sennheiser unit that has bnc connectors for external antenna, but i was wondering if i could instal a sm or bnc plug into a bodypack transmitter to attach an external antenna. Has anybody do it? What would the wiring be like? Any help would be appreciated. Diego
  3. Hello to all of you, I am interested in your experiences with HiDyn plus systems (such as SK 50, SK 250, SK 3063, SK 5012, SK 5212 SK 5212-II, bodypack and SKM 5000, SKM 3072, SKM 5200, SKM 5200-ii handheld), there are also various receivers (such as EM 1046, EM 3732 rack mount, and portable EK 3041, EM 3241, EM 6042). I heard somewhere that Sennheiser SKM 5200-II/SK 5212-II with EM 3732-II can sound better than WIsycom. And I would also like to ask if anyone has some raw audio recording to upload them, I would be very grateful. Thanks everyone in advance.
  4. In in the "What to look for in headphones?" thread, imagist notes the same problem I am having with the HD 25 II, and the same that Simon B experienced with HD250 II. -The point of connection between the cable and earcup becoming intermittent- As well as the seemingly random loses of signal, it is also guaranteed to lose signal when a loud transient is received (eg a clapper board, a shout). I feed my cans lower volume than anyone I know. It is always the left earcup and it is fixed by applying small pressure to the connector in a forwards direction. I otherwise love my HD25s and was ready to buy a spare pair when this started some moths back. Imagist mentioned that tinning the connectors seemed to give another couple months before intermittent behaviour, but I would love to find a more permanent solution. Has anyone found anything to help? Thanks
  5. Hello sound hive, i m dominique greffard, a sound mixer based in montreal canada. I have recently got a zaxcom nova and a couple of zmt transmitters that i really like. a few times a year i get asked to provide production with a wireless stickmic and i can t justify buying a dedicated xlr transmitter for those rare instances. i decided to come up with an adaptor to allow a zmt transmitter to work with the sennheiser md-46, shure sm58 and the electro-voice re-50. i am now selling those with the xlr-f to lemo adaptor for 110$ Usd paypal. I would really like to know what you think about the product. I understand that bending the antenna around creates a rf compromise but after some testing it works fine for those close range applications. i can be reached at dominiquegreffard@gmail.com thanks, dominique holder.mp4
  6. Hi everyone! I just purchased a MKH 416 from BBlist and I have 24h to return it in case something is wrong with the mic. I've tried to do as much research I could about the fake 416's but I'm still not 100% this one is genuine. The only 2 things that don't convince me are: the finish paint is pretty fine (it's hard to feel the texture of the paint), and if I shake the mic a bit I can hear/feel like there are some parts inside that are moving slightly. Can anyone leave their opinions on this based on the photos and the info? UPDATE: I've called Sennheiser and it turns out this mic is legit. And regarding the movement noise coming from the mic, it's because the XLR plug its bit loose. I've tried to tighten the screw that only holds the XLR part but it seems to be already too tight. Sennheiser said they could fix this issues for the price of £210, which I find to be a bit too much.. but I'll probably just sent it to them and end this problem.
  7. I'm a camera / video guy. Every now and then I have an interview or a corporate shoot where I have to work solo, and that includes the sound. I have been using the Rodelink wireless lav kits for a few years now and I feel like it's time for an upgrade. I've been looking at the workhorse Sennheiser G4, which would fit my use case perfectly. However, I find it a little hard to decide the configuration - I know I definitely don't want to use the ME-2 lav. I am trying to decide between these options: 1. G4 512P with the MKE-2 microphone - around 700-800€ This would get me a decent microphone and a better wireless pack, and it's more cost-effective! 2. G4 112P, ditch the ME-2, and get a DPA 4060 separately - 850€+ This configuration costs more, but the DPA is excellent. Now, my question is, whether the DPA 4060 is that much better than the MKE-2 to justify the price difference. I feel like the 512P kit is a better deal but I'm not sure. I've heard that the MKE2 is quite robust and would withstand some abuse, but it's also more difficult to hide. The wireless kit is secondary, however the 500 series sounds like a good bonus over the 100 series. Feedback is greatly appreciated, and let me know if my question is stupid
  8. Hi, I just received a secondhand Sennheiser MKH8060, and did a quick comparrison between it and my old MKH416. I was expecting a big difference in self noise, but in the recordings the difference isn't that big I think. I recorded into my Sound Devices MixPre-6 at around 45 dB gain. Here's my test: https://youtu.be/cqa-U8GqBz0 What do you think, is my microphone alright? Thank you.
  9. I've been using Sennheiser SK5012 transmitters paired with EK 3041 receivers because they're cheap on ebay. But it's old tech. Do they sound better than cheap current generation systems? Or is this the best bang for the buck? I'm guessing the analog amp circuitry is good since these were high end models, but that better transmission quality exists with newer digital radios.I have them paired with DPA 4060 lapel mics.I've also messed around with lectrosonics MM400 transmitter and CR210D Receiver. Also deals to be had on these. Seems like its wireless tech is newer. Not sure which is better. Besides audio quality, I'm interested in compact size, long battery life, and easily swapable batteries - so I can leave them on the subjects for hours at a time - until they forget they're there and act unselfconciously. Any thoughts / experiences much appreciated.
  10. VASI

    Sennheiser G4

    Sennheiser has been announcement the G4 line. Available: April 2018 As for specifications, has not been published, yet. 50 mW and 88 MHz bandwidth the only specifications so far. More: https://en-us.sennheiser.com/wireless-microphone-broadcast-film-evolution-g4
  11. Has anyone modified a Sennheiser HMD26 headset to auto mute the microphone when the mic boom arm is lifted? A client was offered this pre-installed by Sennheiser but it can't source the required circuit board anymore. Any suggestions and/or previous experience appreciated. Thanks
  12. Hi All, on a recent sfx shoot I've been using Sennheiser 8060 along with RSM 191 (both plugged into Zaxcom Nomad) , and experienced this weird noises from the Sennheiser mic. Any idea what caused it? It has gone away after a short while... sennheiser noise sample.mp3
  13. Has anyone experienced clicking noise from Panatape when using Sennheiser 5212 transmitters? No matter the lavaliere, I continue to have problems.
  14. Hello, Does anybody have, or know of, any MS recordings that compare the MKH40 to the MKH50 with that as the only variable in the comparison? I'm trying to get a feel for how the different polar patterns will affect an MS recording, but I haven't found anything that directly shows this. I'm trying to decide between the 40/50/8040 for a mid mic, and since I might get a stereo pair of 8040s and could use one of those for MS occasionally, it seems like it's coming down to this question of the 40 vs. 50. I know the 40 is classic but some say it's boring, some say the 50 is "beefy" but perhaps I will lose a lot of the image going super-cardioid? Any advice would be appreciated, thanks!
  15. Just thought I would throw in a lavaliere modification or those using Sennheiser and Sony transmitters with the 1/8" locking TRS connectors (G3's, UWP's, etc.). As you know, lavalieres for the G3's usually won't work for the UWP's, even though they have that same 1/8" locking connector. But... I purchased a low-budget Senal OLM-2 lav specifically for my Sony as a backup. For the heck of it I plugged it into a G3 and dang if it didn't work. So I opened it up and saw what you see in the attached photo... a tiny 10k Ohm (brown, black, orange, gold rings), 1/8 W, 5% tiny resistor spanning between the left (Tip) and right (Ring) solder tabs. That's it. So I purchased a set of those resistors, added them to my other lavs (Senny ME2, Tram TR50's, etc.), and they now work for BOTH my G3's and UWP-D11's perfectly. No need for redundant sets (except for backup). I especially wanted to do this with my Trams so the Sony's also had a decent mic. And here's a tip... if you do purchase the Senal OLM-2 lav at, say, B&H, get the Sony version. Why? Not only does it have the resistor already in it (not sure if the Senny version does), but it's $40 less than the Senny! At $80 for the Sony one, it's way more practical.
  16. Hi I just found out that the cable for the G3- 112 , cl 100 is unbalance and that the cable cl 500 is balance but sold with the 500 system. I would like to know if it will give me any problem to use cl 500 cable in my G3 112 system? Normally i would believe that balance is better than unbalance, but there must be a reason why G3-112 is sold with a unbalance cable. I will use this to connect to my HD recorder 664 with balance input. Any comment would be nice, thanks. And yes I know that the G3- 112 is not world class radiomic, but with a DPA 4060 mic. it helps a lot. Thanks
  17. After a successful year of upgrading Schoeps CMC4 microphones to 48V phantom, I'd like make the JWsound community aware of the www.416Tupgrade.com service, for conversion of T-powered MKH Sennheiser series microphones to 48V phantom power. The upgrade is available for 416, 415, 816, 815, 415 and 406 microphones. http://www.416Tupgrade.com Thank you Pete Verrando
  18. I'm picking up my first COS-11D and i'm grateful for the input i've already received in this thread regarding TA5F to XLR solutions. I work with a couple different crews who use Sennheiser G2/G3 wireless systems. I'd like my TA5F-wired lav(s) to be compatible with these systems since i'm commonly using them. Would anyone recommend the professional's version (not found on Ebay, not 25 dollars) of this: http://www.ebay.com/itm/like/171376718565? All my Googling has turned up very little. Thanks in advance.
  19. Hey guys, Avid reader and new to the production sound scene. I've doing location sound for about a year now with good success doing corporate, 2 features and a bunch of shorts. Upgraded to my first nice indoor mic (neumann km150). So here's the deal: got my first gig that's got me pretty nervous. I've been asked to do sound for an interview with Martin Scorcese. My first thought was that I have to upgrade to a sound devices and some lectros or zaxcom lavs along with my indoor boom. I've been getting by with a tascam 680 and sennheiser g3's with a cos-11 mic. I know it's prosumer and I"m saving up for the next round of upgrades (I can rent too) but just not there yet. I'm confident that I can deliver clean, balanced tracks using my gear to it's full potential. What I'm kinda scared of is showing up on set with my gear and getting looks from Scorcese and the production crew like, 'who invited this guy?' Am I right to be nervous about my gear or is this a case of 'it's not the arrows but the archer'. Your thoughts and opinions would be much appreciated.
  20. Hi all. I thought that AVX systen would be goot to use for camera hop, but I noticed some weird harmonics in the signal. Sent test tone from SD633 to AVX and recorded it on the computer. Did the same test with cable connection and got these results. Also compared AVX to Azden pro-dx. Audio files added. Can anyone confirm that. First pic is AVX, second ,cable connection Azden.wav AVX.wav
  21. Hi, a newbbie here, with a ew100 g3 problem: Transmitter is sending signal, reciever's screen indicates signal input but no audio coming out from minijack's output of my ew100 g3 system. I've been told it's the output's resistor, but wanted to know if anyone experienced a similar problem. Would love to read your thoughts, Gracias Pablo
  22. Hi, a newbbie here, with a ew100 g3 problem: Transmitter is sending signal, reciever's screen indicates signal input but no audio coming out from minijack's output of my ew100 g3 system. I've been told it's the output's resistor, but wanted to know if anyone experienced a similar problem. Would love to read your thoughts, Gracias Pablo
  23. I know a lot of people here (and everywhere) love the 416 and use it extensively. However, is that because they have been using it for so long and haven't tried the 8060 (which I think Sennheiser hints as 416's newest replacement)? Or are there many people who have tried the 8060 and returned it in favour of sticking with the 416? I haven't had the chance to use either, and am debating which one to get for outdoor booming. I'm in Pakistan and it's noisey here so directionality and rejection of unwanted ambience is of prime importance. Also, I know there are other threads in which 8060 is discussed and loved, but I'm specifically interested in people who have exchanged the 8060 for a 416. Thanks
  24. They market it as "camera receiver", but they mention a panel for cameras without audio slots, that would enable using it in bag/cart. http://en-us.sennheiser.com/news-a-world-first-sennheisers-new-ek-6042-two-channel-camera-receiver-works-with-both-analogue-and-digital-transmitters
  25. Long time lurker first time poster (i think), hello! Also, I posted this on gearslutz too, apologies to anyone who read both forums. I recently bought a Sennheiser 418S m/s microphone off eBay, since I’m doing a bunch of field recording projects at the moment but I liked the idea of retaining some possibility for stereo ambiences in my recordings. The 418S was recommended to me by a friend who I work with a lot, and I had been pretty impressed by the recordings he had made with it. It seemed like just what I needed. Anyway, when it arrived I was dismayed to plug it in and hear a pretty serious hiss on the mid channel. I compared it to my cheap ME66 and the comparison made it even more obvious. I even set them up and did a quick and dirty A/B test, which you can hear at this link. The result was the same both in my Sound Devices 552 and my RME Fireface interface. To me the mic is unusable. The eBay seller asked me to send it to his repair guy in Germany, who in turn has told me that he tested it and it does not have any faults. I'm inclined to disagree, but I thought I'd ask around to see what other people thought. So my question is kind of in the description: am I crazy to think that this mic is faulty? I know it's a weird mic, but it would be pretty useful for what I'm doing at the moment. There is so much hiss in it, I can't possibly believe that it's supposed to be that way, even if it's pretty quirky. Any help/tips would be great!
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