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  1. 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.
  2. 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.
  3. At InfoComm 2014, audio specialist Sennheiser [booth C10908] affirmed its support for the Dante™ multi-channel audio networking standard. “By joining this standard, we will be able to optimally cater to our customers in the broadcasting and live sound worlds,” explained Claus Menke, Head of Portfolio Management Pro for Sennheiser’s Professional Division. The first product to make use of the network technology will be the company’s Digital 9000 wireless microphone system. A Dante-enabled expansion card for the receiver will be launched in summer 2014. Sennheiser electronic GmbH & Co. KG signed the Dante License Agreement with Audinate Pty Ltd at the end of March, just ahead of NAB. In 2013, Sennheiser had signed the RAVENNA Partnership Agreement with ALC NetworX GmbH, following in the footsteps of its subsidiary Georg Neumann GmbH. Sennheiser has also been a member of the AVnu Alliance since 2010. “The future belongs to digital networking. We see the digital distribution of audio and control signals becoming more and more widespread in all areas of production,” said Claus Menke. “The flexibility and modularity of our Digital 9000 wireless system allows the seamless integration of networking technologies, making this and subsequent microphone systems a future-proof investment.” “Sennheiser is recognised globally for its uncompromised performance,” stated Lee Ellison, CEO of Audinate. “The Sennheiser Digital 9000 microphone receiver combined with Audinate’s Dante networking further enriches the broad suite of Dante products available for audio over IP networks in broadcast, live sound, theatre, and professional audio markets.” http://en-de.sennheiser.com/news-sennheiser-supports-dante-multi-channel-audio-networking-standard ___________________ Receiver to mixer (or recorder or mixer/recorder) with one cable up to 8 or 16 channels. Simple!
  4. I recall someone saying that the Sennheiser G3 transmitters are compatible with a different brand of wireless slot receivers. I can’t remember if it was the Lectrosonics SR series or some other brand when switched to compatibility mode. Can someone please tell me which receiver would work? thanks,
  5. I will be posting an iOS version update very soon, with a number of new features: - Substantially faster calculation (for the supporting of more transmitters and for future customization options) - Disable transmitter feature - Custom TX Types, implemented via our brand new - Import / Export feature Here's the deal with Import and Export: for right now it is implemented only using the built in Mail app, so you need to be configured to use the built in Mail app. I looked into the Gmail app; it is not possible to use the gmail app to open an attached file inside of another app. Turns out, it's not very user friendly in general to get files into and out of apps. The only other built in option is Apple's app file sharing which requires you to use iTunes on a computer. I didn't think that was very user friendly. If nothing else, I'll probably incorporate Dropbox file sharing in there in the future. Also, the import feature is moderately smart. While you can simply add all of the imported transmitters to the current or new list, I imagine people will want to be synchronizing lists frequently. For that purpose, each transmitter is assigned a UUID. Transmitters therefore can be updated with new information with each import. Granted, it is not as sophisticated as perhaps a cloud sharing service, but that's a conversation for another time... I have created a new file format called ".ffx". It is an xml document. It can be opened with a text editor (on a computer) and is human readable. And you are free to edit these files to create custom transmitters and custom transmitter types with custom channel lists. The file format should be mostly self explanatory, and I've done my best to make these files pretty idiot proof, but I fully anticipate that with enough people tinkering, somethings will go wrong. And as usual, I am (relatively) immediately accessible to work through whatever problems you have, and I want all of your input to continue to make the app better. And as usual, the Android version is behind on the programming. A lot of work went into these new features, and it will take time to implement them in the Android version. However the priority is the Import / Export, and since we don't have to wait a week or more to update, I'll post the new features incrementally. Cheers, James
  6. Hello, I am doing some outdoor recording with a Sennheiser 416, and recently got a Sennheiser blimp system to accompany the mic, and to keep wind/handling noise down. I bought the blimp used, but it's virtually new, and it came at a smoking deal, compared to the price of nearly $1000 for a new kit from B&H. The one caveat of this deal is that the smaller set of mic clips for the 416 and similar mics (19mm diameter) is not with the blimp. The fellow who sold it to me could not find them as he did not use the blimp with a 416. I know that these smaller clips come with the standard complete kit new, along with the bigger ones for the MKH 60 & 66. I CANNOT find replacements for these small 416-friendly clips. Anywhere. It's been killing me. Sennheiser barely knew what I was talking about. they gave me part numbers that yielded nothing on their site. If anyone has a line on these, or someone in possession of spare parts, or a good online store that has spare parts for suspensions similar to the MZS20-1 grip made by Sennheiser, it would be a terrific help. These clips are 19mm in diameter, and are suspended via rubber bands within the grip's c-shaped suspension mounts, I've included a picture of the Sennheiser grip system. Rycote lyres are supposedly incompatible with the Sennheiser MZS20-1 grip, according to Rycote. I read somewhere that supposedly they work together, but I am less familiar with the Rycote grip system mounting rail. If anyone knows for sure, then I can confirm that Rycote lyres are not an option. Sorry for the long message. Small missing part, BIG problem. Many thanks in advance for your input. Isaac
  7. Did anyone at NAB ask Sennheiser about the MKH 8030 figure-8 microphone ? Do they acknowledge demand for this mic ? I would quite like to make up a more compact MS pair, but the 8030 remains missing four years after the 8020, 8040 and 8050 launch.
  8. Hello! I have been trying to get Premiere Pro 6 to recognize a Firewire mic input without success. Someone who put up a tutorial on getting Premiere to recognize his USB mic told me that with proper drivers this shouldn't be a problem, but Adobe says these FW mics are not supported. Does anyone know of a workaround? We have the Sennheiser shotgun and don't want to downgrade quality, but simply cannot get the Sennheiser to show in Audio Hardware. Any ideas? Thanks so much! Best, Alex
  9. I have bought a DPA 4067 with no connector, I'd like to wire it for my zaxcom TRX900 or sennheiser sk50. As it has only two wires, how do i wire them?
  10. Hi! My first post here I'm going to Cefalu in Sicily in a couple of weeks doing a reality show. I will be using up to 6 Sennheiser G3(a-band) systems simultaneously. Has anyone been working on Sicily using G3(a-band) systems? Or Lectro block 20-21? about the same frequencies. It would save my day if anyone knew. Thx!
  11. Hello Beautiful People of JW Sound, This Tuesday, August 13th, Sennheiser holds it's annual RF Academy in New York City! I attended last year and this is one that you should not miss if you have the time! Also! We are offering something special: Register on Sennheiser's site, attend, and I'll give you your registration fee back in Gotham credit. I mean, that's pretty cool, right? When: Tuesday August 13th. 9:30 am till 5 pm. Presented by: Joe Ciaudelli, Sennheiser Uwe Sattler, Sennheiser Andrew Funk, Sound Engineer (Broadway) Henry Cohen, Senior RF Engineer/Designer Where: Musician's Union Local 802 322 West 48th Street NYC, NY Each seminar is just $199 and includes lunch and workshop materials. Plus you'll receive a $50 coupon toward the purchase of any Sennheiser product and earn 6 CTS credits. Follow the link to register! https://events.r20.constantcontact.com/register/eventReg?oeidk=a07e7x72ldz177047b0&oseq=&c=&ch= RF SA_Mailer_Aug13_NYC.pdf
  12. Hi mates, I have a question about microphone lemo 3 pin connection. Can I use sanken cos11 lemo 3 pin with both Wisycom Mtp40 and Sennheiser 2000? Does they have the same connection? Thank you very much Bye Turi
  13. I currently have an avantone ck-1 and am thinking of upgrading to the Sennheiser MKH-50 (wanted schoeps but I live in Seattle---humidity can be a problem). I have a mix pre d + marantz 661 that I'd connect the mic to. The main reason is that the avantone does not have a good reach--i find that it needs to be fairly close to the subject and considering i film, I'd prefer it to be further away in interior shots. I have a rode ntg3 for outdoor use.
  14. It's been several weeks since NAB, but Sennheiser finally sent me an MKE 600 shotty mic to review. It's not as bright or present as the ME66 / K6 module mics, but I think it has a decent enough sound, with AA powering & high-pass switch, for only $399. And you get to enjoy watching me realize that I don't belong in front of camera. Notes I forgot to add (that only we would care about): - Off-axis rejection is pretty good. I'd say the pickup is more supercardioid that it is lobar/tubular. - It doesn't handle RF that well. - Freq. response is pretty flat, with a slight incline from 2-5 KHz. - Battery life is about the same as the ME 66. Introduces about 1 dB of noise compared to 48V. - HPF - Curve indicates ~80 Hz, but I think its more like ~110 Hz. Voices become nasally. Full review: http://www.brightsideofnews.com/news/2013/5/4/review-sennheiser-mke-600-shotgun-microphone.aspx ~ Matt
  15. hi Im begin in sound for picture business and i'm getting some equipment and I was wondering what will be better between a sennheiser ew100 g3 or a old lectosonic system like 195d thanks
  16. Hi guys, I'm a digital photographer (well cameraman!) and having spent a number of years focusing on imagery, leaving audio to somebody else, im now starting to move more into one-man operation and increasing my base knowledge of audio. I've spent a bit of time reading this forum over the past few weeks, but have a couple of queries. The company that I work for tends to supply a lot of HD footage to the transport industry, so the work can range from ENG style interviews to being stood in the middle of a hillside filming a plane or train coming towards me. Both have quite distinct sounds that I need to ensure are picked up both from a distance and close-up. I'm thinking of investing in a Schoeps SuperCMIT 2U or CMIT5u for the outside audio, feeding into a SoundDevices 788T-SSD recorder (with an XLR out to the camera for a base sync track). But want to ensure that I'm also capturing the surrounding audio as well, with the ability to mix (or leave out various channels) in post later. There is the need to take the immediate surround sound out at times, as I can occasionally be stood with other photographers and their camera shutters going off sounds more like a machine gun on the audio, so that obviously needs to be reduced as much as possible! For interviews, im thinking more of a Sennheiser MKE418, with something like a Sanken WMS-5 for the outdoor surround sound. My line of thinking is that outdoor would have a Schoeps and WMS-5 using seven channels on the 788T, while interviews would just have the MKE418. My question is do you guys think that is over the top, or the wrong set up? Also, for those who have used the SuperCMIT 2U/CMIT 5u I understand from a couple of colleagues that both the base setting and one preset at a time can be recorded simultaneously, so i presume that takes up two channels? I'm guessing the WMS-5 is the same but using 5 channels? Would something like the Schoeps Double M/S CMIT be a better idea than the WMS-5 AND SuperCMIT? Also can any of you guys suggest the best set up of windscreen for the shotgun mic that can minimise the noise of a gale on a hillside! I'd value your views? I haven't had chance to talk to any other sound guys that I know yet, so would value any opinions. I've no problem making the investment, but want to make sure I do it right, and with kit that is going to deliver long-term, potentially in a variety of weather conditions! Cheers Richard
  17. I think one of the main things I dislike about the ME-2 besides the boxy tone is the fact that the body of the mic is so micro phonic that it seems to get worse with moleskin. Any clothing noise is greatly amplified when its not even rubbing against the top of the mic. Which of the other lav mics are considerably better in this regard? Alistair
  18. So I'm shooting right now. And the Sennhesier G3 wireless is being strange. I'm using a SD 552 and have three lavs plug into to their inputs respectively. The signal seems to be going in and out, when I check them my voice varies in volume and the signal gets slightly louder then softer. Again they are g3 lavs and have OST mics on them. I've changed the frequencies to no avail, there is an ac on cause we haven't started shooting yet, but I don't think that would be effecting the signal level would it? The boom is ok though..any thoughts?
  19. I have recently been experiencing odd noises coming from my G3 receivers. The noises sound digital in nature, its not static or RF interference. I noticed that the noise is only apparent when the backlight on the screen of the receiver turns off. When you press a button to wake the screen back up again the noise goes away. The noise is also synchronous with the the little LCD display, in other words, when something moves on the display (like the audio level indicator) when the backlight is off, you hear the little digital artifacts. It is very odd, and very annoying. I recorded a sample of the noise. The first part is the noise by itself, with the lav on the transmitter muted. The second part is the noise with the lav on, and how it reacts when there is sound going through. Anyone have any ideas? Here is the link to the audio file.
  20. I did an interview yesterday and I had this recurring problem every 2-5 minutes or so. It was always the same: 5 quick pulses of the high noise, under his voice, but it seemed to be amplified when the speaker increased his volume, leading me to think it's a problem with the lav or the transmitter. I'm using Sanken COS11-D's wired for Lectro, with an adapter to the Sennheiser G3's. His receiver was going into input 2 of my 552 out of the direct out line level pre-fade to input 3 of the 744t. I have never experienced this problem before, and I use these same pieces of equipment on a very regular basis. Any ideas what it could be? sample.wav
  21. A problem cropped up with my cheap but otherwise quite reliable G2 wireless lav. The SK100 TX now seems to have a problem with the mic input. I've taken the whole thing apart and there's some corrosion on the plug contacts but nothing excessive. What's strange is that when I plug in a lav (and I just bought an OST 801 with the locking TRS plug that arrived today to test this) while the TX and RX are tuned in, I get noise over the link to the RX, but no mic signal. No amount of fussing with SENSIT on the TX or AF OUT on the RX has availed me anything other than a slight buzzing noise, but usually just this hiss of the noise floor (headphones are turned way too high right now). Ideas? Or is it just time to go to the WTB forum?
  22. Hi Everyone, I tried searching, but no hits. Do Sennheiser G2/G3 wireless kits work below the border? Specifically, I have B block frequencies. Thanks! Matt
  23. Edit: This issue is solved. As Jaymz suggested, the receiver was getting T-power from my 302. Silly me. "Is the power cord connected?" Can someone recognize my new "friend"? One of my two G3's is outputting a pulselike "signal" (an unwanted one, that is). You can check a recording of it from the link below: https://docs.google....eE5GRU50RTJXb0U It's sometimes lower, sometimes higher. As you can deduct from the recording, the receiver puts it out even when the transmitter is off. What's worse, it puts it out along with a transmitter signal, so it get mixed into the sound. When a transmitter is on, it seems that it's mostly gone when there's only ambient noise going on but it comes right back when a louder sound such as speech is emitted. I've tried different banks and channels and AF Out level settings, changing the output cable, it's always there. My other G3 pair is fine. One other thing I notice is that when I compare them with identical settings, both fitted with Rode Lavs, this problematic one seems to also output more noise, as if the compander was doing weird stuff. This pretty much looks like I have to take it for a warranty checkup. Annoying since I just got the other transmitter back from a full mobo change (spontaneously died on a shoot, no explanation). Still, I'd love to know if someone has an idea of what's going on. Not much of an electrician myself, but still.
  24. Hi all, I'm setting up a Sennheiser G3 wireless system and I'm wondering what the optimum output to my Sound Devices 552 (or a camera for that matter) would be. Based on this discussion and here I thought I should output at the receiver's max of +12 and input to my 552 mixer at line level. When I do this however I get a really low signal and I need to boost the gain on my mixer to almost max just to get a good level. The same goes when plugging the G3 directly into the camera at line level. I have to turn the input level to max and it is still a fairly weak signal. With my Lectro 411a receivers I run +5 and line in on the mixer and get a great signal. How do others set up their Sennheiser G3 receivers for optimum output. Does everyone use a lower output on the receiver and input to mixer/camera at mic level. Surely you would want to avoid to not-so-great camera preamps? Does anyone know what unity level is on the G3 receivers? What I mean by this is, for example, on a Lectrosonics 411a the +5 setting is the un-boosted/un-attenuated signal. What is the equivalent on a Sennheiser G3 wireless receiver? Many thanks! Apologies in advance if this has already been covered in a thread already, numberous searches yielded no relevent results. If there is then please let me know.
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