I'm curious how the Rode Interview pro mic is for street interviews.

I already own the Rode Wireless Pro, and I like the flexibility. I'm one man show on camera, with my wife doing street interviews. Currently using a Rode VideoMic plugged into the RWP transmitter, so I'm thinking about doing this upgrade for easier use and hopefully better sound.

I understand that the whole Rode non-changable battery is not great, and 2.5Ghz is not a pro-level thing, but please understand this is for social media content mostly.

What worries me is that the mic is omnidirectional, which seems strange as from my small knowledge I'd want a cardioid for interviews, especially on street. But I think Rode should know better than me? I could get something else, like the famous shure sm58, but then i'd also need a recorder plus cable which adds more bulk to it.

It’s my understanding (please correct me if i’m wrong) that Zaxcom has the US Patent for internal recording and transmitting audio at the same time. Does anyone have an info on how long they have that patent for? I know more and more wireless systems are coming out that have built in recording but have US version with the feature to do both at the same time disabled. I’m assuming it’s just a software restriction in the device and once the patent has lapsed (or whatever the term is for it ending) that they could just push an update. So I figured I’d ask if anyone knew haha

Hi all,

Just planning ahead for kit upgrades. I've been doing alot of low budget feature films with a boom op and I'm keen to move from my current 633 and sennheiser G3 recievers to the 888 and MCR54.

My question is the 888 has 8 channel inputs but apprantly has 16 channels. Are those 8 extra channels only accessible via the AES extension which you purchase separately? If so I understand the MCR can output AES but would that only work with compatible transmitters since the G3s are analogue?

Alternatively is there an analogue way of extending those tracks?

Thanks

EDIT: Thanks everyone, I'm definitely going to go for the 833 likely with an SL-2. The upgrade is far in the future until I can afford it but at least I have a roadmap now. Appreciate all your input.

I'm aware of the theoretical reasons why shotguns should be avoided in reverberant indoor spaces (the interference tube affecting the phase of sounds entering from the side relative to those from the front) , and of the particularly bad rep the 416 has in this scenario. So I was quite surprised when I came across this https://youtu.be/3dQ6yKSttEc?t=2038 (check the next 30 sec or so).

This is a how-to vid from one of the most prominent and professional YouTubers and his production team. The audio guy's using a 416 in a reverberant indoor space and, well, it sounds fine (to me - on the main one). Okay, a teeny bit reverberant, but not hollow or otherwise unnatural. They can probably afford to have enough MKH50s lying around to play Jenga with them, but the 416 is what's been chosen. Are its dangers indoors overstated?

I should point out my knowledge of its use in location sound is *all* theoretical as my 416 is only ever used for VO in a well treated studio where reflections aren't an issue.

Hello everyone,

I have a quick question: I’m trying to find a shop/site where I can buy angled XLR connectors at a lower price, as I need more than 10 of them. So far, the only place I’ve found is Amazon, where the prices are around €11 each (with some strange and generic keywords in the title). This would total over €220 just for the connectors, and I still need to buy the cables separately!

Maybe I’m using the wrong search terms, or I’m just not on the right site. Does anyone know the specific name for these short, flat, angled XLR connectors? Any tips on where to find them affordably would be much appreciated!

picture of the connectors https://www.amazon.de/gp/product/B0CMX73VLP

Bonjour mes amies, Where is your favorite sound equipment house? Extra bonus if it’s in Bretagne ❤️ Merci

Hello everyone, I am currently on a set and using my new Tascam DR70D for the first time. I am being asked to sync the timecode, and I’m finding that this recorder doesn’t have a timecode capability. Does anyone have any recommendations for how to sync timecode to the camera? Thanks!

I am a podcast producer for an economist's podcast; he's been invited to speak at an event & organisers are fine with him recording segment where he and event host do a 1-on-1 talking about the market . Organiser says their PA mixer will give me a feed of their microphones and that I should bring a recorder (my SD MixPre6ii) and "the necessary cables/converters and their mixer output connection is the usual XLR" I figure XLR output means main output of the mixer into the MixPre tracks set to line input? Should I bring adaptors to feed the stereo 3.5mm Aux In? How much redundancy in terms of cables and options should I be brining to make sure I can record things correctly?

Hello I'm Seth! I'm an audio student that's been given his first Crack at sound for a small film. I have had experience doing live sound and Studio recordings - but very very minimal On-site location recordings for Film/TV. I wouldn't count my High-school project as experience, but I hope that sets a baseline reference of my skills set right now.

What would you veterans say you wish you knew before doing sound for Film/TV? I'm filling all three roles of Utility, Boom Op as Sound Mixer for the set, what should I keep in mind for each role?

Hey all, I'm looking to find a small, bag friendly RF distro. I've used the PSC RF Multi before and had no issues with it. However, the PSC's $920 USD price tag has me considering Deity. I don't need that many RF outs anyway.

Does anybody have any real world experience with it? Can anyone speak about its reliability or durability?

Sound mixing job is asking for “hops to camera “ and specifically mentioning that the camera has a built in XLR input. Please explain to what this is?

Hello! I am on a shoot with a Sony A7s mark 2. I plugged my ambient timecode box into the 3.5mm jack on the camera.

The video files are playing with a glitchy beeping sound. I heard something about downloading an app called “LTS Convert” to make this work.

The producers are super green, I’ve never worked with this camera before, and there is no designated DIT on set.

For tomorrow should I just put a camera hop on to get scratch audio or keep using the timecode box?

Didn't really drop it on the ground, but it was screwed into a mic stand and the screw holding one of the extendable arms together got loose and the mic slid down to a lower position hitting the base of the stand (basically as if you lowered the extension arm, but it slid hard with no control over the speed of the lowering, so it was pretty abrupt and rough). It was in a shock mount and it sounds okay to my ears when recording stuff, but I'm worried about slight changes in frequency pick up/self noise levels.

Is it possible that I damaged it/compromised any of its core elements? All input is highly appreciated!

Hi there, fairly new to location recording. I'm recording sound on a short film soon and I'm wondering wether I need to use lavs. I know that some sound designers like to mix boom and lavs in post. (Or is that actually standard?) The thing is, I will use a mkh50 but only the Rode wireless pro lavs. Since it's a tiny production, I will have the time and extra takes if necessary to record flawless with the 50. Should I even bother to lav? Not that I'm lazy just wondering if bad lavs would be even used in post when you have a solid boom mic.

Hey y'all, I have an almost brand new f8n pro. This morning in the middle of a set, it just started shutting itself off after a few minutes of running, then degraded to running for only a few seconds at a time. I tried a factory reset, with no luck. I've tried 3 different powering options (External deity s95, double As, plugged into the wall) with no success. At a total loss as to what to do.

Currently have someone bringing me a backup recorder (I don't own one myself). Production totally understands the situation, though this is a really shitty situation regardless. In the meantime, anyone else have this happen to them, and know how to fix it? Thanks.

Notes - The only other issue this recorder has had was it not retaining the date/time that I input. It'll occasionally prompt me to re-enter it when I turn it on. Don't know if this is related.

I've had this for 2 months and it has roughly 20-30 full working days on it. It's mainly been powered by the s95 battery. It's been very well maintained and taken care of.

The PDR’s don’t transmit. Was thinking of there was a small TX on the market like those used for instruments that can be plugged into the PDR to turn it into a TX. Thoughts?

Excuse the title being a little click-baitty, but it’s a genuine question.

I own a DPA 2017 (thanks to this group) and would eventually like to buy a Sennheiser MKH50 as an indoor mic. However I’m worried if it’ll cause some notable inconsistencies in the dialogue if we switch mics

EX: an exterior uses the 2017, while an indoor uses the mkh 50.

I know mics can sound wildly different in terms of what they pick up, but would it be much of a problem between the 2017 and the MKH 50? If so, what should we consider when mic matching.

Thanks again.

Hello everyone, I hope you are all doing well!

I am looking at action cameras, the DJi Action Pro 5 and Insta360 ace pro 2 for the purpose of performance car vlogging, and I need a good mic. What I would like is a wireless mic, that will provide 3 streams of audio, one for the exhaust, one for inside the hood to capture the intake, and one for in the car so I can talk. I would like the audio to be crystal clear, do you have any recommendations? I am very uneducated on this subject.

Also, I will be connecting the mics wirelessly to the action cameras, trying to avoid a bunch of cables, but if I have to use them for great audio I will.

Thank you!

Just finished an out-of-town shoot that took place across 4 days. The first day is when I flew out and went immediately to the shoot from the airport. On the last day we still worked in the morning and then the crew flew out after. The production company paid for all travel expenses and meals.

So the from the time I got to the airport to the time we were done on set on the first day was about 16 hours, but the time on set was just about 10 hours. On the last day from the time I got to set to the time I got off the plane in my home city was about 17 hours, but total time on set was just about 4 hours. I consider my normal day rate to cover 12 hours

On shoots where I’ve had to fly somewhere I’ve never worked on the same day I’ve flown, but I normally charge half my day rate for travel days

I’m just wondering if there’s a standard way to handle this kind of stuff. When should my billable time start and stop on travel days where I’m also working? Is it appropriate to charge OT even if the on-set time was less than what my day rate covers and my travel is being paid for? I didn’t have the opportunity to discuss this with anyone at the production company. So I recognize that I probably should have gotten more clarity before the gig

Still pretty new to freelancing so I’m looking for advice and insight on these kinds of situations.

Anyone have experience with Deity power cables?

I am getting a power distribution and am trying to balance quality with price.

What brands do you use?

https://youtu.be/c38CekaAtfI?si=47Q-2zxpzbcvFH-3

Hello!

I'm going to be doing documentary coverage of the Trump rally at Madison Square Garden on Sunday. I am planning to mount a shotgun(i'm aware that mounted shotguns don't sound great) and I would also like to have a lav mic on my subject. I expect there to be an incredibly high media turnout. I have a Deity Theos system but want to avoid sending audio over RF at an event that will be so heavily covered by the media. This is low-budget run-and-gun documentary stuff, the sound doesn't have to be perfect. Single camera, single subject, and the subject will be interacting with others. Do you think I'll be able to use timecode with all the interference on RF? If not, any recs? Should I just record into the Theos transmitter and then sync in post?(would love to save myself that headache if possible) Any recommendations would be greatly appreciated!

Thanks so much!

And thanks to the r/livesound gang for sending me here.

Maybe you can help? Or tell me who else to ask?

I am an orchestra teacher at a school with students who have dell laptops. To record assessments in the past, half the class (about 10-15 kids) all play their music at the same time while recording a video on their laptops.

As you can imagine, the audio quality from the device is just horrible. Is there an affordable mic that students could plug into their laptops and clip onto their music stands that would improve the quality of the recording?

I don’t need professional sound quality, just something that will help me better hear and assess my students. At a price point where I could buy a set of 15 without making my public school principal cringe?

Some sources show ORTF with mics being placed like this: \ /

https://preview.redd.it/3bhhzhj583xd1.jpg?width=800&format=pjpg&auto=webp&s=6afd927c8b97861011f01f53ce78587a1e79d96b

While other sources show ORTF as the capsules overlapping each other like this: /\

https://preview.redd.it/i4r5zc4a83xd1.jpg?width=800&format=pjpg&auto=webp&s=c1f3d3195a4f5ff95a120494e815f82fc455d012

My question is: Which one is correct, really?

I got some second hand lavaliers (Sennheiser MKE2) and is going to buy some mic "grills" and "windbubbles" ("wind protection") for these, as they were missing in my purchases.

I go often to take interviews outside so wind can be of issue.There are "windbubbles" that can be attached on MKE2 with a grill on and without a grill, directly on a mic. Which one is best to buy? Am I supposed to use wind protection without the grill for "best" sound or is it okay to use these on top of one another?

I have a question I can't seem to find the answer to and I've been searching for the past two hours.

If I get a IEM system with 4 receivers, I need to carry the transmitter on my soundbag connected to my recorder? I don't get how I should connect this IEM rack transmitter.

If I need to carry it, then a Orca OR-28 isn't going to suffice.

I want a way to feed what I'm booming/laving to my director, cam op, producer, etc.

I know that I can get a IEM rack and a few receivers but how do I go about wiring/connecting it?

Do I need to carry it on my bag? Do I need a cart? Do I connect the IEM system to my recorder?

How do I go about this?

I currently have a Rode Wireless Go II TX connected to the sub out of my Zoom F8n Pro and the RX connected to a Audio-Technica M50 that I'm going to give to the director next shoot so he can hear what I'm recording.

The setup seems like it will work but it doesn't seem to be the most professional thing. I'd like to give a RX to my camera op but have to figure out how to do it still, since only sub out is taken.

I'd like at some point to have some better professional gear. At this point this Rode Wireless solution is working.

Do you guys recommend something else that I can use other than this Rode solution?

I'm looking to record sound fx into a Zoom F3. This will be indoors so a shotgun like the Rode NTG3 or MKE 600 are probably out of the question.

I was thinking a pair of Rode NT5 would be a good set to begin with. I also see BH has the Rycote CA-08 for almost 50% off. I know Rycote isn't know for their microphones, but would you think it's worth a shot given the discount?

I'm also open to other recommendations. Thanks!