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Found 13 results

  1. Hey all you brilliant electrical minds. I just purchased some Shure WL 184 hypercardioid lavs to use with my Lectrosonics SMQV transmitters. I replaced the connectors with TA5F and tried wiring them up based on Lectro's "Simple 3-wire 5V" diagram using a jumper across pins 2 and 4. It worked but it had some noticeable hiss and required a lot of gain (about 35 and up on the SMQV) and was pretty nasal and lacking in bass. Then I found a wiring method on the Shure website that said to try just wiring up pins 1, 2, and 3 to ground, bias V, and mic in respectively. This provides the mic with only 2 volts and not the 5V that the Lavs prefer. This also worked and sounded better with less hiss and a fuller sound than the Other wiring but it still requires similarly high gain. I'm wondering, does anyone have a better way to wire up these mics to Lectro TA5F's that maybe supplies them the full 5V and might require less transmitter gain? Thanks!
  2. Hi. I am switching from Lectrosonics (TA5) to Wisycom (Lemo 3 Pin) and want to wire my mics by myself. But unfortunately can´t find informations about some models like Sennheiser MKE-2 Tram TR-50 Maybe someone can help me? Thx
  3. Wiring = epic? Yes in the sense that wiring someone is in my fantasy world an operatic event: adjective op·er·at·ic \ˌä-pə-ˈra-tik\ 1: of or relating to opera 2: grand, dramatic, or romantic in style or effect Opera contains the maximum possible artful layers: orchestral works, song, dance, sets, costumes, stories, technical stuff galore. Much like motion pictures. Have been thinking more critically about how I conduct wiring sessions toward sharing some things I can only assume from artist and costumer feedback don't always happen. All of the following assumes you know your gear intimately, how to quickly troubleshoot, and maximize your particular electronics particular value. Awareness. Each moment of the process requires awareness and the collection of data points for future study. Time to study. Replay the game films. For me it's a kind of meditation on the process. What went smoothly. What could be more elegantly achieved whether sonically, logistically, or politically. Create openings for feedback loops by proving I remember what my colleagues prefer. Mental Confidence. From awareness and time sprouts mental confidence that engenders trust. Physical Confidence. Think of how people groom horses, how doctors and nurses are with your physicality. The physical confidence while placing a microphone was improved for me by means of an early and long connection to dance. Graceful dance. Predictable. Rhythmical. Respectful. Our process is certainly nowhere near an intimate as a prostate exam, but there's no reason I shouldn't treat our physical connection with the same clean, respectful and proven professional intimate touching technique. My wiring psycho-physicality lives somewhere between the dancer and the groomer/OB Gyn: once I move where they can't see me, I maintain contact with their body with at least a forearm as I move around mounting a transmitter and/or dropping a cable. Continued contact with the wire-ee especially important during ankle mounts, kneeling with hands out of sight. There is an economy of movement. I say in advance what I want to do. "With your permission I plan to run the mic in through this armhole, right to the middle and onto the fabric of the Spankx, then to the transmitter that will fit smoothly under the jacket on the waistband. Let's make sure we don't see it on your waistband before we get too far." When I'm finished, I always tap them twice so that if they're in conversation or saying lines they know I've finished without distraction and can relax. There are hand signals I train AD's to recognize, # of wires among them. Communication. "Welcome to my cart-away-from-home where you are an honored guest," is what I endeavor to convey with body language, especially someone's first time at the cart. Beyond the introduction I'm a chick of few words at first. Furthermore, I become in my head a restauranteur: the professional host. Learned to quickly and accurately read customer mood from college and high school years as--ultimately--a high-end waitress. Private? Silent? Modest? Small talk? Philosophy? They have props/drink/sides? Vanna White shows them, "You win! This is YOUR cupholder, this your personal shelf. Jacket here. Let me make you comfortably at home." So much fun. Psychology. Every time we do the thing it gets better. I think about it. Refine the process. Call their attention to significant improvements with a Twitter-length sentence. The moment of pointing out the plant mic is something I enjoy almost as much as their playing to said mic. I serve plant mics up like a 5-star chef presenting the entrée to POTUS. Sound cart as refuge. Cart placement is generally far enough from the fray that it feels significantly less hectic than near camera. It's a calm space. Quiet, positive space. When practical, I clear extraneous people away in advance of an artist's landing. Sacred Trust. Given the microphones, I consider that connection with the artists a sacred trust; I endeavor to illustrate that reverence with every word, movement and action. Respect. I'm never finished wiring until I've put on the costumer's hat and given 'em the once over. I put that costumer hat on when I'm evaluating a new costume, too.
  4. Hi all, anyone know if there was a source for the lower profile female XLR connectors? Have noticed a few here and there, Loon certainly use them with their cables. I'd love to to wire some up if they're around. cheers http://www.loonaudio...=a815B4B2CC.jpg
  5. Hello guys, I've been reading this forum for quite a long time, but that's my first thread. I have quite a problem understanding the correct wiring of COS11D for my TRX900LTH. I went through all topics concerning that, but can't figure it out. What I came up with is that wiring diagram on Sanken website is in conflict with Zaxcom recommendation and some posts here on the forum. I'll be very grateful if someone can post an idiot proof wiring that is the correct one, so that people with poor wiring knowledge can at least show it to a technician and avoid confusion. Thank you in advance, Alex
  6. Hi guys, I want to wire two very short TA3F > TA3F cables to go from the direct outs of my 422 to my 744T. The necessary length is like less than eight inches. It's because the Remote Audio cable I currently use is annoyingly long: perhaps two feet. So my question is what's the best cable stock to use? I don't feel like trashing the Remote Audio cable for this. Rachel
  7. I need to make a cable for a Sony WRT-822- Hirose to XLR Male. Can anyone give me the pin wiring for this? Also, if there are any special considerations to take note of when making this cable that would be much appreciated! Thanks!
  8. Can anyone help me with wiring an Audio Technica PRO-35 mic for use with a Lectrosonics LMa transmitter? Any help would be appreciated. Thanks in advance, Robert
  9. Can anyone help me with wiring an Audio Technica PRO-35 mic for use with a Lectrosonics LMa transmitter? Any information would be appreciated. Thanks in advance, Robert
  10. My apologies to bug you about a wiring question, but I've looked online, on the Posthorn website, in my show room, and here on the forum: What do you think would be the most give-and-take wiring for buying a sonotrim mic, or a tram, or any lavalier for that matter? I do use my xlr connectors quite a bit, for interviews, but my current lavs are all over the place: a 4-pin for a sony ECM, and a microdot for a dpa, etc. As for wireless I'm mostly on the sidelines between lectrosonics or zaxcom, even if I rent them for many years to come. But that's just the thing: I don't understand from the zaxcom material whether the same 5-pin connection that I wired for a lectro lav would work straight into their transmitters. And on the flipside, if my budget is smaller or someone has acquired a sennheiser set-up, is the 5-pin still going to be the best starting point? Do you foresee this standard sticking around for awhile or are you thinking that you'll rewire your lavs differently any time soon? And as you can see, none of my current lavs are wired for any transmitters out of the box. Makes me wonder what foot I started off on! Cheers to you
  11. Hey, Is it possible to wire an adaptor (ta5 to waterproof MM) to work for both positive and negative bias trams? I feel like the stock mm adaptors are wired to handle both but I'm not sure how that would be wired - Is there an extra jumper somewhere on the ta5M side of the adaptor? Specifically I'm trying to figure out what the wiring should be for that lectro cable that works with both +/-bias trams and a redband cos-11.. The current cable I have doesn't work at all with the -bias tram and creates some grounding issues with the cos-11 when you touch the metal casing of the MM thanks!
  12. Does anyone have a definitive answer for whether or not to connect the cable 'Shield' to the connector 'Case' Standard wiring for 'Balanced' Input/Output 3 Pin XLR is: Pin 1 Shield Pin 2 + Pin 3 - But should you jumper Pin 1 'Shield' to the connector 'Case' It seems that every time I ask someone I get a different answer ranging from "Absolutely yes" to "Definitely not" and even "Yes for location audio but no for studio audio" or "Only at one end" or "No way because that 'Case' lug is for attaching the string in the cable to provide strain relief". Comments from the crowd
  13. Hello everyone. Thomas from Sound Guys Solutions here. I want to personally thank you for all the kind words about our products and updates! Here is a new video that shows exactly what our new product can do as well as how it can speed up your wiring time!
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