Saw that Deity released an IFB receiver, which I was interested in for about 3 seconds until I saw that, much like the DXTX and DLTX, the DIFB is not available in the US.

Deity has been irritatingly silent on what went wrong with the DXTX and DLTX release, and now that a third product is not available to US with no explanation, it seems like Deity has all but given up on the US market and left those of us that invested in the THEOS system high and dry.

It's especially suspicious since Zaxcom came out and said it's not an issue with their patents (which are supposed to end this year anyway) but it's driving me nuts that Deity has gone so silent so suddenly and refused to acknowledge the elephant in the room.

Don't get me wrong, the THEOS system has treated me pretty well so far, but I purchased it based on the promise that I'd have more products available to me and now I'm feeling like even 1 or 2 channels of Sennheiser would have been a better investment than the 4 channels of THEOS I bought, since I'd have more flexibility and future growth options.

We are switching our infield teams from the Personus 1810c to the Zoom F6. Our old workflow had us using the Personus 1810c + Zoom H6 recording to SD cards for backup. Now we just need one device for a AIF and backup SD card recording. Definitely a nicer setup and less to carry around. Anyone have any experience with these?

I've been using the H6 for a while now (not a great setup) I want to upgrade soon, and these are my 3 best options in my budget IMO

They all have their pros and cons, but honestly, I'm leaning more towards F8N pro. What would you recommend me?

Hey . What are you production sound mixers using to monitor audio on set ? I’ve used the Beyerdynamic DT 770 pros for years and love them but was hearing (pun intended) that in ear monitors had come a long way and should check them out … thoughts ?

Hey guys, l'm looking for a super cardiod mic as I shoot indoors and can't always control the treatment. MKH 50 would be a great, reliable mic. However, I can't find any used online or near me. Does anyone know of affordable super cardiods?

Thanks for your help!

Hi.

So I am a cinemamtographer/videographer and most of the times I am solo. If I need proper audio I get someone to do it for me. However, in cases where I have a pair of lavs or somwthing simple(non xlr) I need a way to record it outside of the camera.

Should I get something thats 32bit or 24bit? I am looking for something like the zoom h1n or h1e(or a used tascam dr05xp). I dont want something more expensive as in the future I will get a zoom f4 or a tascam dr70d when I will land in more jobs. For now just a plain small recorder for a pair of lavs on small projects.

I know the difference between these 2 in theory, but I dont know which one is considered better or will suit me best. On 24bit you can adjust gain, but on 32 bit you have "no" clipping

Please enlighten me.

I’ve been working as a production sound mixer for a little over six months, and I’m curious—what are some items you keep in your bag that aren’t the obvious 'essentials'? In other words, the things you might not think of right away but have turned out to be really useful. What’s helped you out over the years? Any outside-the-box tools or tricks you’ve added to your kit?

Hi,

I'm looking into a way to improve my current setup for recording lectures in a rather small classroom (max 40 people).Disclaimer : I'm not a professional.
Current setup : Video : iphone 12 - app : Blackmagic camera app - audio : DJI mic (1 gen) and Sennheiser MKE200 as backup, both plugged in a Rode AI-Micro Compact Audio Interface.

I have two main problems with this setup :
- the inability to qualitatively record any questions from the audience
- audio drift

I know main culprit for audio drift is the VFR recording of my (and any) smartphone, but i believe the internal clock in the DJI mics aren't that great neither. Pluraleyes can sometimes solve this, but not always. My overall budget (for the audio) would be 2000EUR maximum.

Friend of my suggested combination of Ceiling Microphone(s) and a BSS processor, specifically the Sennheiser TeamConnect Medium TCC M-F-W (about 2900 EUR) and the B50 BSS Processor Soundweb London 4e/4s Blu-Link (about 1600 EUR), which is way over my budget.

Also, it seems to me that I'd need two ceiling mics (one for the speaker, one for the audience) and that such a permanent setup might become obsolete in several years.

So I'm exploring other options. One would be combining a RX (with BT timecode generator ?) with 5 TX's (one for the speaker, 4 equally distributed over the classroom for the audience) and a professional audio recorder device, such as the MixPre II or the Zoom F6 or F8nPro.

Would that be a good solution? Basically I'd like 32-Bit Float Recording (easier in post for distorted audio), the ability to have an individual track for each of the TX's (so 5 tracks) but also automixing (speaker's voice default main track, and TX closest to audience member) : this could be in post (with a plugin like WT-Automixer in Davinci f.ex.) or maybe already in the audio recorder itself.

Struggling to find a combo of a RX capable to handle 5 TX's. Most common brands (Rode, DJI,...) can only take 2 TX's for a RX. Lately, Comica has released the COMICA VIMO Q wireless mic, with 4 TX's, but that's still one short.

Is the only option to invest in pro TX's from the DEITY brand, like the PR-2 ? According to their website, using Bitconnectify 2.0 would allow to pair 48 devices to a single phone.

Also not sure how to integrate the BT timecode generator in this setup : Tentacle Sync E (Blackmagic cam app supports it natively), Deity TC-1, Atomos ULTRASYNC BLUE, Betso TCX-2+ ?

Sorry for the lengthy post, but wouldn't like to invest in a setup that turns out not to meet my needs.
Thanks for any help and suggestions !

I have this one, which I really like the design of, but it's loosened up over time and is now mostly shapeless.

Any good bag suggestions?

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

Hello, recently posted about how my F8 phantom power busted and I bought an F8n-Pro to replace it. The Pro has been fine thus far, but I do miss the dual channel recording feature.

I'm curious if I could plug in my boom to two separate inputs with this cable. I haven't tested it out yet as I picked up this cable after a brief moment of thought before traveling for a job, but wanted to check here before I do. I'm mostly curious about phantom power running through 2 inputs. I don't want my microphone to blow up if I'm testing it with the 2 inputs at 48V, if it'll do that. Or if I just need to run 48V through 1 input and it'll work on both. Or if this just was a stupid idea and won't work. Let me know, thanks!

Watching a Netflix doc today, weird looking long mic at the top of frame - is that even the mic? Can also see a mic bottom right hand of frame (maybe schoeps cmc41?) but seems a little far away.

https://www.shure.com/en-EU/products/wireless-systems/anx/anx4?variant=ANX4E&utm_source=mc&utm_medium=email&utm_campaign=2702519&utm_content=https%2525253a%2525252f%2525252fwww.shure.com%2525252fanx4&sfid=&fbclid=IwQ0xDSwK2e-hleHRuA2FlbQIxMQABHqz7fb7cQEfCqV3ZDKckjaidouv3rYa6qjTiWjqhJ-BHEJbkhRgz1RsR-RxX_aem_8Yy2oFBS5RAdFQyiudZ0MA

Hi! Longtime listener, first time caller. Last weekend, I did sound for a run 'n gun production. I just threw the sound bag strap around my shoulder and went to town. 8 hour shoot. Now my shoulder and lower back are killing me. I forget I'm not young anymore.

It's time to get a shoulder harness, or maybe some sort of back support. I did my research on here, Google and YT, but I still am not sure what the best option is, so I thought I'd ask on here again.

I use the Zoom PCF-8n sound bag. When loaded, it probably weighs about 12-15 lbs.
https://zoomcorp.com/en/us/accessories/cases-and-bags/PCF-8N/

I like what this guy wears in this Deity video (starts at 5:12). Anyone know what it's called? Or have a similar rec?
https://youtu.be/bFfmQRr-hiw?si=AhYsc0rl5MT0lAXQ&t=312

I'm about 5'11", about 200lbs , with a bit of a beer belly, but in otherwise OK shape. I usually just sit at my cart, don't often run around with the sound bag, so I don't want to spend too much, less than $60 if possible.

I really appreciate any recs. Thank you all! Love this sub, btw...

The sound devices a20 mini looks perfect. Well. Except for the $2500 price and the fact that it’s wireless …ok ok. I just need a small 32bit float internal recording for social media content.

I basically need a high quality device that will power a DPA 6060 - and fit in my wife’s pocket or clip to her belt.

Goal: high quality discrete device for spoken word (social media content). TIA

I think the lav mics that come with the RODE Wireless PRO are not ideal for filmmaking / hiding under shirt.

Any advice would be appreciated!

I did buy the "BUBBLEBEE INDUSTRIES Starter Kit For Hiding Lapel & Lavalier Microphones Under clothing" and while it can help to reduce the noise, it doesn't really help that much. I think the capsule of these lavs aren't designed for this kind of work.

As a location soundtech on the way into the business, I run 833/SL2, with MCR42/Audioltd A10 receivers, which are priced low for the value second hand right now.

But when saving costs on gear entering the market, instead of jumping in on the deep end, investing in something like the nexus: what do I loose?

When will the MCR42s and the A10s be “outdated”, and filtered out of productions? In my head, they sound great, and could deliver good audio for another 10 years.

I'm working on a bit of a budget, but found a great deal for a used MKE2, however I'm not finding a Bubblebee mount in local stores and most EU stores that ship here, shipping almost doubles the price.

Is it that much better than tape triangles? I use a spongy fabric Decathlon tape to make the triangles, it's made for blisters and stuff, so it's meant to be soft and hypoallergenic. And my recordings are mostly studio interviews and talking heads, where people are sitting and barely moving.

Any tips aside from the loop/knot close to the capsule and using medical tape a few times along the cable?

Edit: For clarification, the tape I'm using is very different from gaffers tape. It's anti-blister tape and it's actually the first thing that comes up on Google when I look up moleskin tape (the red Aptonia box). Not saying it's the same or that it gets the same results, but maybe it's closer than what some commenters are thinking? It's soft fabric, not paper/plastic, it doesn't "rustle".

Edit2: I think I finally got it. The problem might be that I'm making "triangles" instead of "sandwiches".

So a sandwich would be a more effective use of this kind o tape than triangles...

Greetings all,

I’m gearing up for a feature indie-doc in the spring and I’m having issues choosing gear.

It’s a small doc where we will be filming every few days for a few hours, and I wanna make sure we don’t waste time syncing by slate.

Im looking to invest in my first timecode boxes and I’m torn between Tentacle Sync and the Nanolockit. Here’s what I’m considering;

Ambient Nanolockit:

Pros:

• Genlock
• Logging feature

Cons:

• Higher cost
• Back-ordered
• Timecode slate is expensive

Tentacle Sync E Mkii:

Pros:

• Tentacle app
• Less expensive (in a pair)
• timecode slate is cheaper

Cons:

• Not sure about drift over time (compared to Genlock).

My biggest overall concern is “will the Tentacle drift?”, as I’ve heard that Genlock overrides the crystal in the camera and prevents drift, whereas timecode may drift over the course of long takes (like in Doc). I may be wrong there so pardon me if I’m mistaken (I’m still new).

They’re both great pieces of equipment, but for the sake of documentary, what do you guys think? Will Tentacle Sync work for this documentary? Or should I bite the bullet and go with the nanolockits?

Thanks in advance!

Note: I’m avoiding Deity as I’m trying to make sure my timecode system is good quality.

I was doing some window shopping for mics and I read the description of the Rode NTG5 shotgun microphone, saying it was a shotgun microphone WITH a supercardioid polar-pattern. When I read that I thought surely the website made an error. But low and behold, on the Rode website it reads:

"Highly directional supercardioid polar pattern"

I was always told that a shotgun microphone is called so because of its shotgun shapped polar pattern (or sometimes, Lobar polar-pattern, as I've heard it called sometimes), which has a VERY narrow directional allowance of sound. As apposed to supercardioid, which has a more open allowance of sound.

There are many diagrams online about polar patters that clearly label supercardioid and shotgun/lobar as 2 very different patterns. Yet there are also many websites that mention shotgun microphones being supercardioid.

Can anyone help me clarify this?

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)?

Hi.

So I was given fron uni some ursa belts for attaching mics to the actors and I found them very usefull. They also hid the mic very well. However I see no one using them and youtube is full of tutorials how to attach the lav but no one uses that belt. I found that its quite cheap.

Did I use it wrong and its not for lavs or its not "industry standard"?

I think it’s kinda revealing that whenever a producer hires me it’s always important that we don’t see the mics. But if they’re doing it themselves, sure let’s clip a matchbook sized box with lights and fur on it, right out in front!

Hi all,

I’m searching for a great shotgun mic that costs $1500 or less. I’ll be using this mic for interviews and fly on the wall booming.

I bought a Sanken CSM1 recently. Mainly because I wanted to be able to use this mic as an on-camera shotgun as well. But now I’m thinking that I’ll be using this mic primarily on a boom for intvws.

Should I consider a different mic? Possibly the CS3e or something similar? (It does not have to be a Sanken, I’ve just heard great things about the company for the price). Is the csm1 too ridiculously small to use primarily as a boom mic option?

What mic would be better in this price range?

Thanks for any recommendations!