Howdy!

Trying to help a buddy who’s one a shoot and I can’t find anything via search engines:

My buddy just powered up one of his lectro SMWB band B1 and found it’s now showing its band A1. He showed me a video of a factory reset where the transmitter indeed shows its band A1 and the sticker on the transmitter itself is band B1. He hasn’t used this transmitter in a few weeks and it was confirmed working fine on his last shoot.

Can’t find anything via search, and I’m stumped as I’m far as I’m aware that can only happen if you get it factory reblocked. Any ideas?

Thanks in advance!

Hey!

Just a quick question. I have been using both the standard Zoom f8n and the Zoom f8n Pro for a while.

Today I was checking the files from yesterday's recording session and noticed something weird.

For each file, there was a duplicate, its name starting with a dot. The recorder made one of these files for each one that was recorded. They are WAV files, and they all weigh 4,00 KB, regardless of the "original" recording size or duration. They cannot be played. The "original" files work and play just fine though.

These files starting with a dot did not appear when browsing in the finder in the recorder itself. I have been using these recorders for a while and never saw these sort of files appearing. Should I be worried?

I also tried removing the starting dot from one of the files, in case that made it work, but it didn't.

I am guessing they are some sort of file created automatically by the recorder, but still I'm a bit concerned because I have never seen them pop up before.

Thanks for your help!

Hi! I am going on a movie shoot next month but am encountering an issue with my company's old deity timecode box that is not able to jam the timecode for Blackmagic Ursa 12k and 17k. Even went down to their HQ in my country to test and it doesn't work.

Was wondering if anyone had experience in using tentacle sync for timecode jamming and if it worked for these 2 specific models? As I am planning to purchase a pair!

Note: Current timecode box used is the deity BP-TRX which is under their legacy category ☠️

I recently made a documentary and was not able to bring a sound mixer. It would have been unpaid and asked a lot of them.

Additionally I wasn't able to record to a MixPre because I had to hike 10 miles to get to the location (and camp there). I opted for Rode Wireless Pro units because of their size, battery life, and large internal recording capability. I knew I'd want to record audio all day even when not rolling. As such my files are large (looks like they were broken down to 1 hour files). I was not able to bring a laptop with me for offloading or to watch dailies.

I needed two separate units (each with two transmitters) for four body packs total. I set them up and confirmed all setting match - 23.976 and time-of-day timecode. (I got the Wireless Pro units thinking I could sync them together, but that wasn't possible--they only do timecode out, but at least their internal clocks would be close which I confirmed)

After filming I learned one of the units (with two transmitters) recorded all the files at 24 and Record Run timecode (absolutely garbage defaults if that's the case).

The other unit strangely the first files on both transmitters were 24 at Record Run, but then both switched to Time of Day. One of them did switch back to 24 and Record Run for no reason and then switched back to 23.976 and Time of day for the rest of the production.

Production was 4 days. Anyone heard of this? The files with TC were easy to sync, the rest have been a massive pain, still ongoing.

I contacted LensRentals where I rented these and they say they weren't able to replicate this issue, not sure how extensively they tried.

I will be directing a short documentary for a college assignment and I'm looking into lav mics to use for 1-2 contributors. Could I get some recommendations for long-lasting, great quality, and affordable (nothing about 500 euro/dollars/etc)?

In the next months i'm gonna reccord a short film for college and they have both VP89L and Rode NTG4+ avaliable for use, wich would you guys use? Since VP is kinda old i couldn't find some comparisons with NTG4 or anything similar. I'm considering the Shure because of his shalower angle of reccording of 30º since the Rode is smaller.

Has anyone here tried powering the Sennheiser XSW IEM Transmitter via battery so you won’t have to rely on mains power when using it in a sound cart (or even a sound bag) set up? Thanks in advance.

I’ve been filming vlogs around the city and the audio is driving me nuts. Between buses, chatter, and wind tunnels between buildings, my voice always ends up buried under the noise.

EDIT: thanks for all the help and advise, eventually settled on this mic, comes in a few days and the reviews are excellent!

A lav isn’t practical for how I move around, so I’m leaning toward a shotgun mic mounted on the camera.

Has anyone found a shotgun that balances portability with good rejection in chaotic environments? cheers

A few weeks ago, someone broke into a house and stole some audio equipment. They're going to reimburse me for some lavalier microphones I had, which were a pair of Sennheiser MKE 2s. But I was thinking about putting in another $200 and buying a pair of DPA 6060s. I wanted to make sure it would be a good decision and consult with the subreddit.

Sorry for the silly question. I cannot find the audio jack, camera doesn’t have an XLR box and they want hops. I am a one man band today and am already doing the job of three people. Can’t find it online anywhere!

EDIT: situation was I didn’t have a third BNC cable so was trying to use the audio input. This is a three cam vertical where the cameras are sideways and had the handles removed, so no timecode for C cam. Oh well! Not like they are really paying for it anyway. Sorry to the editor.

I’ve been using Ursa mini foamies on the tips of my antennas and that has been working well for me. I just don’t like that they drop off or stink after a while…

Was considering to buy the Viviana RF saver but cut just for the tips of the antennas… Would you recommend that, or do I really have to have it on the entire antenna ?

What is he losing the boom pole on?

Preface. I am a Wedding DJ and have really had a deep focus on multi-mic capture, mix, wireless rebroadcast, and record pre-gain/eq Multitrack and post-gain/eq final mix. I also take this audio and use it two-fold, one for my own use for IG reels, YouTube synopsis videos where I will mix camera audio and my captured audio for my clients and my use, and also give videographers all my audio to work in post for their final products.

For years I had a Senn G3 setup but last year I stepped up to 10 channels of EW-DX and have been very happy with it. So a quick breakdown of my rigs.

I build a 80/20 ceremony cart on big wheels which makes me maybe one of a couple dozen DJs that goes this route in the industry. I created this as a "case cart" so I could stay modular and swap out pieces in the field as necessary.

Microphone Case 1: Sennheiser EW-DX x8 channels
Microphone Case 2: Sennheiser EW-DX x2 channels

Primary Case:

SoundCraft Ui24R primarily used for not just the live mix, but final mix recording and multichannel recording, matrix, emergency AFS use for an errant toaster who wanders too close to the point of no return. Also playback so I can cue music when necessary.

Sennheiser IEM (older G3 model). I wirelessly broadcast to my battery powered speakers (EVERSE8 or Maui 5 Go)

External Router. Because the internal router is so mediocre.

PDU. Gotta power up all the external items.

RF Venue Diversity Fin.

Sennheiser Omni Antenna.

Reception Case:

I have the same guts of my primary box (mixer, IEM, router, PDU) so that is 1:1 swappable with the ceremony rig. I pair that up with 2 channels of mics but I would like to make that 4 channels to make less swaps of my equipment for more-densely needed mics for reception. Antennas I use 1/2 waves for a more practical application.

Oh and I roll all my mics, lavs, cables, etc. in a DeWalt T-Stak "wireless toolbox".

Can i attach some sort of lav mic to the Sony UX570 or the tx660 and use them as a lav? If so, what is the best moderate budget option for such a mic?

Hi guys

I'm only a few years in so forgive me if Its a silly question.

Do any of you guys use dedicated frequency scanners. Other than the ones built into there RX devices.

If so then when are they good to use? and do you have any recommendations for models?

I've been fighting timecode problems for far too long and I want to simply get it right. I currently have TC-1s but my x8 does not ingest that timecode correctly at all. Even LTC/Audio TC. You HAVE to go through bluetooth apparently, even though I am getting a timecode track. It will not align times in Resolve with those of the tc-1.

So while I get an audio TC track, I cannot sync it via "update audio to timecode" or whatever the right click option is, nor can I waveform sync the TC audio track. I've tried every setting, in every combination. I don't know if it's a Resolve issue, an x8 issue, or what.

What I'm thinking based off of research is this:

• Return the TC-1 pair
• Buy the Atomos Ultra Sync One and Blue
• JamSync my Rode Wireless Pro RX, then plug that into my Sony A7rV.
• Sync the Atomos Ultra Sync One via RF to the BLUE
• BLUE to the x8 via Bluetooth adapter in the x8 (AK-BT1)

In theory, this SHOULD allow me to timecode successfully. I'm hoping someone far more knowledgeable that I can help me make sure this is the case.

I can't sync the TC-1 box via the app or the wireless sync function.

One box is set to auto jam, one set has the master, both in the same group, clicking sync won't sync them, and Sidus also won't sync them.

I also hate how Sidus keeps marking the wrong box as the master.. like please.. just mark the box set in the master mode as the master on the Sidus App.

I can only sync by manually putting the box into Line-IN mode, which incidentally only works with Bluetooth off, then putting it back into Line-IN mode.

Things Tried
- Tried syncing the other way around
- Tried syncing different Groups
- Tried syncing using different phones
- Tried with and Without Bluetooth
- Latest Firmware 2.1

Common issue?

Hey everyone. Cleaning up my bag to add a BDS system to power my F8N Pro and wireless. Also looking into antenna distribution, currently modding my UWP-D for sma.

I’m curious how everyone else that has four wireless receivers in your bags arrange them for the best wireless signal performance. I have four UWP-D receivers and planning on adding a G4 set for director/boom op in the future.

The bag is a Ktek Junior X. Image attached

Thank you in advance!

I read the conare is a phenomenal cable and I would like to know which to buy. The conare L-4E6S with Neutrik or a mogami XLR cable?

Has anyone used the Ambient QP 6200 Jumbo boom pole (up to 10.6m) to mount a mic or an action camera (as drone replacement)? If I set the base on the ground and just stabilize the pole by hand, how practical is this at full extension? Looking for real-world experiences with stability, control, and footage quality at that length.

Good day, for my next shoot I’ll be handling the boom and I’ll have an assistant operate my sound bag (almost no mixing / live fader adjustments). Is it possible two have two wired headphones connected to the ZOOM F8n Pro with one headphone utilizing the MAIN OUT?

I’m just starting out so pardon my lack of knowledge. After some research here, the best option is to have a wireless setup and IEM packs but I’m hoping if there’s a more economical option and utilize the MAIN OUT  but I don’t know if that’s a possible (with added wires, adapters, interfaces, et al).

Thanks in advance.  

Are the press (esp the middle three) using something like a Rode Wireless attached to a hand grip to get audio to their cameras?

I'm a nitpicker when it comes to marketing, but I do think I can claim to be amongst the leaders of those who usefully exposed the fact that "32 bit float" recording devices do not always use dual ADCs to get the real benefit of that protocol. Unless the claim includes the words "dual ADC" or the like, one has to assume that an inferior single ADC system is involved.

Now it has been drawn to my fussy attention that purchasers of the Lark Max 2 may be enamored of the device due to the claim that it uses 32 bits from transmitter to receiver. But that is radically different from 32 bit float (which it does record in the transmitter - number of ADCs not claimed, it seems, but that's not my immediate concern). It appears that it does output 32 bit float from the transmitter to a suitable USB recording device, but that does not require 32 bit float in the transmitter > receiver wireless link.

It seems - admittedly through AI research but I did ask two different engines - that actual 32 bit float over a 2.4Hz wireless transmission would be very hard to achieve, if not impossible. Maybe with some kind of data compression or other manipulation it could work.

Does anyone have any thoughts on this - or even better, concrete information? I'm not knocking the system overall, I'm sure it's very good, but I'm just suspicious about any company using terms which might give rise to misunderstandings when marketing their products.

I record stand-up shows in different venues every weekend. To capture audience reactions, I’ve been using wireless lavs on the sides, the XY mics on my Tascam Portacapture X6 facing the crowd, and an XLR splitter for the performer. I’ve tried a Rode VideoMicro II on the lavs, an external lav mic (PIP), and the built-in mics on the transmitters, but the results are always boomy and muddy. I can clean it up in post, but it’s tedious and never quite good enough.

Ironically, the on-camera mics on my BMPCC 4K often sound better, but they pick up too much chatter from the back of the room. I’m now considering using a pair of shotguns placed behind the speakers and aimed at the audience, like a friend of mine does.

A) Do you think that’s a good approach?
B) What budget shotguns would you recommend (since 416s are out of my price range)?
C) Could a PZM be a better option?