I just got the Deity SRD Mini and BF1 bowties set up and I've got the included BNC cables routed through my bag nicely. Rather than unplug them from the bottom of the unit every time I want to mount the antennas on a mast, is there any reason why the pictured BNC coupler wouldn't work to daisy chain to a longer cable (about 10-15ft)

It's a 50ohm coupler, but it's technically a "video" connector and I'm not entirely sure what the difference would be for a coupler.

https://preview.redd.it/yg6qi9mj154e1.png?width=720&format=png&auto=webp&s=6a0cc525885e36cdfa989f9a249dc17ca951c25e

Hey! I'm looking for a solution to capture the DJs mixer and/or speakers for events and already have a use for a bunch of PR-2s to use as lav microphones, but thinking I might need a 32bit timecode recorder for the mixer too. Would the PR-2 be just as able as a FR-AV2 or Zoom F3 for this use case? Since it only has 3.5mm input, I assume I'd need to get specific cables if so. Any recommendations?

As the title says,

I’ve looked everywhere and no one has to have a clear answer, most solutions are great for post production content like the Sony uwp, or sennheiser g4, and just record locally! Great but not quite…

(please don’t tell me that transmitters receivers are 1:1 I know, I know, these are just boxes with multi receiver packet nicely).

I want to have a wireless receiver, with multi output that I can then connect each one individually to my mixer which then I connect into my camera (or directly to the pc) and just live stream it all together with obs.

Matter of fact I’d be down to using many receivers as long as they work together nicely (don’t convolute the signals among themself like when you put two rode receivers too close to each other)

Audio outputs can be Trss I’m ok buying trs to xlr adapters. Or if you know of better setups too.

Has anyone compared the 416 to the 418 front only sound? Are they essentially the same?

Hello everyone! As an amateur, involved in both documentary filmmaking and field recording, I am looking for a way to tell the story of the relationship between image and sound in an intriguing way. As such, I'm looking towards the possibility of mounting reasonable, field-recording-leaning microphones on the camera. I was also inspired by this video and this setup:

https://www.youtube.com/watch?v=cvQMtp40-hg&t=249s

I started to wonder if such an option is possible. Of course, it seems to me that 8020 is too wide and too spatial image. I was thinking of ORTF with the Sennheiser mkh 8040 instead, to have something directional though. My question, however, is related to whether this setup actually makes sense, do these wind shields serve any function and do the microphones not capture the slightest camera sounds, such as focusing on the lens? I was also thinking about the second option, the M/S setting - a pair of mkh 8090 and 8030. But then some kind of blimp would have to come into play, such as Cinella. Does such a thing even make sense? Certainly the base would be the Tascam FR-AV2, which I also need to fit somewhere. I should add that a separate sound person is out of the question, and the situations I'm shooting in are also live, mobile situations. Perhaps someone could make some suggestions? Maybe you have some other advice? I'm convinced by the MKH, because at the same time I'm looking for equipment that would work well for field recording alone, already without a camera, and it's a very high-quality and versatile kit :).

My camera is nothing big, a Panasonic GH6 with a Smallrig cage.

I would be very grateful for any hints :)

Hello, the Goggle took me here.

I have a boundary mic which I use to record my bass drum (in the studio). I lost the TA5F- to- standard 3-Pin XLR cable that came with the mic. I ordered some TA5F connectors to make my own, but getting conflicting info as to the wiring. I came across a a great YT video of a line-level wiring set up, but that doesn't help me, lol. I've seen many diagrams but still confused.

Hello all, so I'm a bit of a newbie in the location sound world but I've been working a decent number of gigs and gaining experience, both paid and unpaid, on a lot of indie narratives and sit-down interview type things. I took a gig thinking it'd be a pretty simple interview shoot judging by the deck and references they sent, and the producer assured me it'd be "easy" with a max of 2-3 people speaking, so I assumed I'd be pretty prepared. I was dead wrong. The project turned out to be far more run-and-gun than I expected, and I was woefully unprepared. I did the best I could, keeping up and trying not to slow the crew down wrt upkeeping batteries, adjusting frequencies on the fly, managing timecode and hops, etc., but I was definitely a disappointment (I even offered to find a replacement for the following days after the first, but they wanted me to stay on).

I guess my question is, how do I manage these situations in the future? Gear feedback would be good too (I was running a Zoom F4 which was nottt up to the task, particularly in terms of input numbers) but mostly asking in terms of philosophy/how I can better prep. It was definitely my bad for not asking more relevant questions on the lead up, and I feel terrible and pretty embarrassed for not having done a very good job. Also thinking about reaching out to shadow or help more experienced location mixers for free, just to get a better handle of how a real pro can do things on the fly. Thanks!

I´m looking to buy a microphone that can be used as a shotgun and a stand-alone recorder for documentary filmmaking. The Shure VP83F LensHopper and Zoom Zoom M3 MicTrak seem to do both, but I´m wondering which of the two has better overall features and audio quality. Can you suggest to me which one could provide better sound quality?

Hi

does anyone know does the “stem” on the Rycote nano wind shield slot into the Ambient QRT quick lock release system ?

thanks

I’ve just finished taking apart, cleaning and reassembling my Ambient QP5 pole with the maintenance kit. It all seems fine however I find that the locks on these boom poles don’t seem to do much. Each lock has to be tightened really rigidly to stop the pole from sliding whereas other boom poles I’ve used haven’t had this issue. The locks didn’t seem damaged when I cleaned them but was wondering if any one else has experienced this issue before.

Hi, I am a videographer, sound designer and composer and have done some location recording before, a little bit with a boom pole but not much. I'm quite used to using lab mics for my videography stuff

I am starting to work more on other people projects, mostly as B camera and also simple sound stuff like mic'ing people with lava and using Rode Wireless Pros to record internally and sync afterwards.

But I'd like to feel more confident to do some more proper sound recordist stuff, with a boom pole and shotgun mic, and a recorder. I did actually own a Mixpre10 but sold it as I wasn't using it, regretting that now!

Pretty much all I'll ever need to do is a single or possibly two mics, mostly a single shotgun on a boom pole, but sometimes a simple stereo recording with a couple of little condensers.

What is the cheapest recorder you'd reccomend which has at least 2 XLR inputs, 32 bit float and a good way of implementing Timecode? I've been interested in the F3, but seems like a nightmare for Timecode, ands maybe a bit too basic.

The Mixpre 3 and 6 seem like they might be good choices, but do Zoom offer anything you'd reccomend over these? F6 or F8?

Thanks, any advice greatly appreciated

I'm considering the NoiseAssist Plugin for the SoundDevices MixPre series. I've listened to the audio samples and while they're impressive, all of them generally contain "constant" background noise: the hum of an A/C unit, the din of regular traffic by a road, etc. Samples are here: https://store.sounddevices.com/product/noiseassist/

Does anyone know how the plugin handles background noise that is more intermittent? I have an interior location with single-pane windows from the 1970's and when a car drives by every now and then, that registers pretty noticeably on a Sennheiser MKH-50. I'm wondering if NoiseAssist would correctly isolate and reduce that sound or if it works mainly on more "constant" background noises.

Since it's $300 to try it, I'm asking here first. Thanks!

Need something to monitor sound that will work with 3.5mm connector. My company didn’t give me a budget, but despite being huge, they’re cheap and it costs social capital to ask for anything. $20-35 is easy, 35-45 more difficult, above $45 I’d need to be seriously convincing and would rather not.

Thankfully, I only have 3 priorities that cheap headphones should be able to cover. The trouble comes as headphones and earbuds under $50 don’t seem to ever be designed towards professional use.

• Durability: daily use including wet/cold/hot/bad weather, lots of over-the-shoulder work
• Environmental Noise: being able to distinguish my audio against loud environmental noise. Doesn’t have to be perfect but best for this price area.
• Maneuverability: Must be able to have a wireless earbud in one ear to use my walkie talkie app (if earbuds, I can just put in 1 of these to monitor and 1 in other ear for walkie talkie. For headphones, preferably I don’t have to wear headphones awkwardly and they just fit over air pod). Also, lots of over the shoulder work, so cable can get annoying.

Bonus if you know of a reliable separate dongle device do just put in an Aux port to basically make it wireless. That could help me out too. But not necessary.

I record interviews with lavs synced to camera, and natural sound with mounted mics. All monitored through camera. Quality just needs to be basic enough to tell if my mics are functioning and levels are decent.

Thanks so much for your time!!

I got the camera synced with my Timecode device, but now the camera complains: "connected timecode signal cannot be used for time code tuningsynced"

Checked it's LTC out, standard signal, 25P.

Any ideas?

I recently bought an H4N Pro. I’ll be using it to record the exhaust sound of my motorcycle. I’ll be filming riding videos, but there won’t be any talking—just pure exhaust sound is enough. As you know, Harley Davidson motorcycles produce high sound pressure levels, and of course, the engine itself has its own sounds, such as the injection noise, but this is much quieter compared to the exhaust. For such a recording, what would you recommend?

• What should the Low Cut Hz setting be?

• Does Record Level matter, and what should it be set to?

• At what angle should the microphones be (90 or 120 degrees)?

• Lastly, should the microphones face the exhaust directly or in the opposite direction?

I’ve done quite a bit of research on YouTube, but I couldn’t find detailed videos. Most of the recordings just show the setup and then proceed with the video.

Thank you for support.

This time, it's from Sennheiser: https://www.newsshooter.com/2024/11/24/review-of-the-sennheiser-2-4-ghz-profile-wireless-packs-features-and-value/

Let's add more congestion to the already congested 2.4Ghz band.

The marketing department as its best...It seems like all the innovation in audio is focused on youtubers. Be prepared because a buch of influencers will pick up all these mics with their hands as if they were handheld mics.

Currently I’m using an mkh 8040 to record sand footsteps but they’re not coming out as “granulated” as I’d hoped.

I’ve tried play sand, and kiln dried sand.

And also tried mixing in kosher salt, which has helped.

But wondering if anyone can suggest something that might help get that dry desert sand sound better than what I’ve tried?

Maybe this is a broadcast question, but maybe some here have insight...

I'm working hard on my little PicoTimecode project and someone asked about sync'ing to a RTC (or to GPS time).

I believe that the actual value of the TimeCode is irrelevant on set, as long as all recorders/camera use the same.

But what happens in broadcast?

For integer FPS it's easy to align to clock pulse, but with fractional (ie 29.97)?

I know DropFrame doesn't apply every 10mins, so is 'xx:x0:00;00' the only frame(s) that precisely align?

PS. I have GPS equipment with 1pps, with very good accuracy for testing and validating local clock accuracy.

Hi all, I often find myself a bit frustrated when it comes recording lavs and its noise, especially scratching/rubbing noises. I afterwards do sound design too, and i know you can do a lot with audio cleanup, but at the end of the day, i try to get the best possible sound on set. I’m well aware that good sound comes with a lot of practice and so on, but my question is - how much of that rubbing noise is okay even in professional settings in particular situations?

I’d really appreciate if you’d share some insight and experiences because it’s driving me nuts to think that it’s not alright to have at least some noise.

Thanks a bunch!

I'm using an H5 and two Shure SM58s to record conversations. The issue I'm facing is that with the 58 being a quiet dynamic mic and the H5's preamps not being all that great, I have a higher noise floor than I would like. (It is just self-noise from the gear, I assume, a low, constant buzzing sound.) I have to either crank up the gain or speak from a really short distance, which introduces its own problems, such as more plosives and making the recording sound like an ASMR.

My question is whether a Cloudlifter would, proportionately, give me a bigger boost in sound than noise and thus help increase the difference of volume between the "voice" and "silence" parts in the recording. It seems like the easiest solution (if it works). Right now with the peaks normalized at -6db, the static is at -54-50.

Other options, of course, would be a better recorder, better mics, or switching to condensers (which I'd rather avoid since I don't record in treated spaces), but how do I know when is enough?

Any advice?

Hello guys! I recently bought a new camcorder for recording my rally videos, Today was the first time I got a chance to use it and a lot of my clips the only thing you can really hear is the WIND and obviously that is not ideal when recording rally cars, I would love some recommendations on a microphone or even types of microphones, I'm new to all of this so the only thing I would be asking for is something that blocks out the wind and that can pick cars up from far away. Thanks for reading and thanks you even more if you put a recommendation.

Hello everyone,

I don't know if anyone has this but here it goes.

I made a sheet with devices (cameras and timecode generators) tc and audio inputs and tutorials.

https://pbalazeiro.com/?p=444

I recently made this and im not 100% sure if there is any kind of mistake or manufacter's change or update. So i recomend to check the latest manual.

If ou have something to contribute or add just let me know and i'll add or change it.

Hi everyone, I am fairly new to the more advanced side of location sound recording and have some rather basic questions that I am hoping somebody can help me with. The DP I am working with is asking for “hops for scratch audio and for the producer”. There are 2 cameras for this shoot, and I am using the Zoom F6 recorder, and will be running lavaliers and a boom mic.

I’ve done some research on sending camera hops, but I was wondering if somebody could walk me through what this set up looks like exactly. From what I understand, I need to buy a separate set of lavalier transmitters and receivers that I will be running out of my Zoom f6 and into their cameras, is that correct? And if so, how exactly would the transmitters be set up? There is an 1/8” “line out” port on the recorder, would I run a cable between that and into the microphone port on the lavalier transmitter? And then run a cable the lavalier receiver and the camera I am sending the scratch track to?

If this is the case, can I use one lavalier transmitter and 3 different receivers? I have read that you want to use different frequencies to avoid interference, but I don’t get why three receivers can’t all just receive the audio from that one frequency?

I hope I am not way off on my understanding of this, and any info is very much appreciated! I have this shoot in a couple of days so I am nervous about it and hoping that I can set this up correctly so that everyone gets what they need.

Thanks everyone!

I'm looking to invest in a lav mic setup for my short filmmaking. My shoots are often with minimal crew so something I can set up quickly with little hassle would be very helpful. Most of my shorts rarely have more than 2 actors speaking in a scene so I'd like a kit that has 2x lavs/transmitters but with potential to expand.

My budget for a kit is about £500.

The Rode Wireless Pro Kit is probably leaping out to me the most at the moment, especially with the 32-bit float and internal recording in the transmitter in case the wireless fails. The £300 price seems very reasonable. Would love to hear some perspectives here. Thanks so much for your help!

Question for those in IATSE film locals. Is there an option for someone to pay into their own union benefits account?

Can I take a one time job, get paid on a freelancer 1099, and put money into my own healthcare plan? Or is the only option to unionize the producer’s whole crew and make them pay into my benefits plan? Any other options?

I want to find a way for young inexperienced producers to cut me a check and to stay on union health insurance.