So here's my situation: I'm going to be recording audio for a short on my Zoom F6 and using sennheiser g3s for both Lavs and in the Line out to give a headset to the director. I've done this before and have encountered no issues. While checking over my equipment I plugged everything in to double check it's working but any time I try and use one for a headset it gives me nothing but a horrible distorted sound. I've tried to look for a solution to this problem but have only come across people talking about the floor noise issue. This happens on all 5 pairs of sennheiser g3s I've used so l'm not sure what is causing it. I've changed their frequency's and input levels to no effect. If there's anyone that has experience with this issue it'd be greatly appreciated any advice that could be given. Thank you.

I’m primarily a gaffer owner op but I’ve been picking up audio shifts for ABC News the past few years on the side and have decided to start building my own kit to make a bit of extra money vs using all their old gear. It seems like every News crew in the DC area uses the Audio Implement 605 monitor amplifier or one of the variations for IFB. They seem to work fine and are built well although the rudimentary low battery indicator always makes me nervous. Are there any other modern wired amplifier boxes available that I should consider that I’m unaware of? The negotiated rental rates are pretty abysmal for ABC so I don’t think I’m interested in wireless IFB options at this time given the additional cost.

Hi everybody, I'm asking for help in order to understandtl the differences between an MKH416 P48, MKH418S and MKH418 P48: I know the 418S is a fig8 stereo mic while the 416 is a shotgun mono mic, but I just found out that there's also a MKH418 that seems to be mono and was wondering what is the difference with a classic 416. Also, would the mid channel of the 418S sound the same as the 416 mono channel?

Sorry if this is a silly question, just trying to get my head around this stuff..

Thank you in advance!

Title is fairly self explanatory - I'm going to start freelancing as a sound recordist and post-producer and am looking for recommendations for insurance providers.

At the moment all my equipment is leased, so I'm not looking for equipment insurance yet (feel free to recommend providers though, as this will definitely be essential once I start to purchase my own kit)

Thanks in advance

Got a favorite DI for getting audio from a laptop to your mixer? Which one you using? What do you like about it?

I'm trying to improve my skills as a sound mixer. After some self-study, I'd like to confirm that I understand some concepts correctly!

I know this is a common topic, but I think I now understand the limitations of using wireless systems with 32-bit float recorders. After learning about the basics of signal chain, it seems like a UHF transmitter and receiver will apply their own preamps and ADC before reaching my recorder. This means that it's still possible to clip audio at the transmitter level, making that distortion get baked-in when recording.

I'm not 100% clear at what stage in the signal chain the clipping could occur in the transmitter, but I think that's the gist.

Okay, so as usual, I've learned that 32-bit float is not as magical as it may first appear. That being said, wireless is super convenient. Now I have a couple of questions:

1. How do the pros do it?

Wireless systems are commonly used by professionals, right? Do higher-end wireless systems offer additional clipping protection (maybe I'm asking about dynamic range?) over lower-end systems? Is it just a matter of a lower noise floor, allowing you to turn down the gain on the transmitter?

2. Is this as scary as it seems?

The thought of clipping at the transmitter level seems terrifying, but is this just something that likely wouldn't be an issue with proper gain staging and mic placement? I know limitations will vary by system, but what might be a good way to test limits?

3. 24-bit has the same issue, right?

If I understand what I've read online, even high-end wireless systems may not offer the same (dynamic range?) as plugging directly into the mixer. This would mean that you'd still have to be careful of transmitter-level clipping, regardless of bit-depth.

I love my UHF wireless system, and unless using it professionally would be catastrophic, I don't want to sacrifice the convenience by switching to wired connections. I typically use both wireless lavs and a plug-on for my boom, but could see a world where I just cabled the boom instead.

Any input or advice would be greatly appreciated!

I started using a cheap lavalier mic I got on Amazon in order to take Zoom calls from noisy places like airports and coffee shops. I love the fact that it is about the size of a quarter, can be charged independently of the case, has a mute button, relatively good audio quality, and the fact that I can just disable the headset profile on my computer so I can use the full noise cancelling ability of my Sony WFs. However, I find it annoying to give up one of my USB ports to plug the dongle in, and I can never get it to work with iOS.

Is there a bluetooth microphone that has similar characteristics that I might be able to use without the annoying dongle?

Slowly transitioning from ENG mixing to cart mixing (mainly due to some back issues after 16 years of ENG haha).

The final piece missing from my cart is video monitors.

Did some second unit stuff and got by using an iPad with QTake. But might do a feature soon and want something more “proper”.

Anyone have advice or suggestions on where to start ? And what works best for you?

Thanks in advance !! :)

I'm considering shooting weddings and would like to get a budget estimate and wish list together. What's the ideal setup? I'm looking for something that would be easy to setup, get decent quality, provide redundancy, working with a multi cam setup, and be able to monitor. Is there a different setup for the ceremony and reception?

Another player in the field. This time smaller, with long battery life, long range, no flashy logo and affordable. Too good to be true? Yes, it is 2.4Ghz. Is it the same crap as all the others in this price range, or is it an option to consider?

Hey everyone. First of all, excuse my english. I was doing a recording over the weekend when, all of a sudden, my MKH50 stopped working. I sent it to my local technician because I need the microphone for next weekend, but he is unable to open it to access the internal board and check where the issue is. Apparently, on the MKH60, you need to unscrew and detach the upper grille that sits over the capsule, but on the MKH50, this grille is not removable, and he hasn’t been able to open my microphone. I searched all over the internet but still haven’t found any explanatory material on how to access the inside of the MKH50. Can you help me?

I'm building out my audio kit this year as I felt I needed to get proper audio for mini docs that I'll be working on. No longer just phone audio.

Also wanted to get into field recording to build up my own storage of sounds for productions.

Now I'm abit stuck with a decision.

At where I am, I potentially can purchase a zoom f6 and a sound devices mix pre 6 for 600. May be able to argue down the price to 400 ish for the f6.

However, there are a few things I'll like to seek the advice of yall.

1. F6

• Has internal tc
• Already comes with a npf battery slot
• Has 6 XLR inputs
• 32 bit float

2. Mix Pre 6

• Doesn't come with TC generator
• comes only with a double A battery slot
• Has 4 XLR inputs
• Analogue limiters, 24bit linear

I honestly also can't really tell the difference between the preamps but there was alot of mention that the headphone port out of the f6 is very jittery?

So what do yall feel?

Context, my only mic rn is a mkh416, altho I want to eventually purchase 8050 x2. (If anyone has a recommendation for any cheaper alternative pls let me know)

Does anyone have recommendations for a microphone for nat sounds at a racetrack? I’ll be livestreaming on a single camera setup. It could be attached to the camera or mounted on a separate stand. Needs to be xlr terminated. I’d like to keep it under $300.

Here’s a question for anyone who uses the Sennheiser 416T...for context, when I started using the PSC Barrel Adapter for mine, I would have my mic connected to a cabled boom pole, then connect the adapter with a short XLR cable (so I can keep it safe and undisturbed in my mixing bag) and then run that into my recorder.

I know this configuration is a bit ridiculous and time consuming, but it worked for me until recently. My adapter seems to have come loose and rattly, and I am getting incessant crackling noises now as I record on my 416. This is exactly what I was trying to prevent with my cable management - I tried to have my connections secure with electric tape and gaff tape, but that’s not working any more to the point where I can only use my mic for a few minutes before the crackling starts.

Anyway. As I try to get my adapter fixed, I’m wondering if there’s a better configuration for cable management out there so that it doesn’t get knocked around a whole bunch? How are you getting by with the adapter?

Thank you!

For reference: I’ve worked a lot as a boom op and as a one-man-band. I’ll be mixing soon with my own boom op and am realizing I don’t have much experience working only as the mixer.

Of course I’ll be adjusting faders to get a good balanced mix between lavs and boom, but when you do it how active are you in fading tracks in and out?

I just did a corporate gig and had three people sitting on stools a foot apart. Everyone had lavs and read teleprompters and then had a conversation, Lavs sounded great but they asked for a boom for backup. I had a mkh60 which had to be out of the shot in the wide. So it was pretty roomy sounding. What mic would you guys recommend? This situation comes up often. And the shotguns are always very directional and I have to put it on a c stand as I usually setup way behind the cameras and out of the way. But that's not ideal.

I'm based in LA. A production reached out to me about doing sound and they feel slightly amateurish. They are offering a criminally low rate and insist on seeing an IMDB. I don't have an IMDB and nobody has ever asked for one before. Just wondering how common this is in your experience to see if I should get an IMDB pro account or not.

I’ve been to a few industry expos recently, and I’ve been getting pretty dismayed seeing how expensive sound equipment is.

Much of the industry standard camera gear is rented by productions because of how high end and expensive it is, and everybody recommends renting camera and lights instead of paying for it yourself. But the sound department doesn’t ever seem to rent.

Even if I’m working full-time, it seems insane to spend $10,000 on a Zaxcom recorder or the Sound Devices Nexus system.

Now the gear I have at the moment is fine for my needs, and I’m certainly not saying high-end gear isn’t worth it, but I’m just wondering why the sound department doesn’t just rent instead of having to buy it ourselves.

Has anyone here ever rented sound gear for high-end productions? Is there a reason why the sound department doesn’t?

Thanks!

P.S:

The only reason I’ve ever heard is that it’s easier to have your workflow set up if you own the gear, but that can’t be the only reason can it?

Should I worry about stopping working or even having problems with airflow or capturing the sound improperly? Does not come in original package and it does not include cable and/or original shock mount. What price would you suggest negotiating?

https://preview.redd.it/pdl22rkp8gfe1.png?width=1200&format=png&auto=webp&s=d529a82f1f242c2d4eadbb9495d33401f96f8db0

https://preview.redd.it/iju6irur8gfe1.png?width=1200&format=png&auto=webp&s=c60a0fd5fc7ba83036ecdc047e94580ec344aa5d

I do small doc work, and am hoping to upgrade my interviews away from my simple lab mic. I am looking to grab a boom and accessories and have been looking at getting a NTG3, a k-tec boom pole and am curious first off if this is a decent kit to start, and secondly if it will work off phantom power of my h4n or if getting a h6 would be much better (or if you have other recommendations around the same price point)

New to the field recording scene and looking to set up a mixing bag. The plan includes an Orca 27 bag with the following gear:

• Zoom F6 recorder
• Sennheiser MK 600 shotgun microphone for the boom
• Two lavalier microphones

Currently, I'm considering the Sennheiser EW-D ME2 SET Digital Wireless Lavalier System for the lavaliers, but there’s a potential issue. Since the antennas are located on the back of the unit, I’m concerned it might:

1. Not fit well in the bag
2. Have a weak transmission signal due to antenna placement

I’m exploring alternatives, whether that involves a flexible or remote antenna or another system that won’t break the bank (under $600 per system).

I know the Sony UWP-D series would be a solid choice, but I’m also hoping to use Sennheiser MK2 or MKE 2 lavaliers. The problem is these don’t seem compatible with the Sony system.

If anyone has suggestions, the help is more appreciate than you know!

Hey y’all i’m using a mixpre 6 and using AA alkaline batteries their dying super quick and i was wondering if there was a way to fix it? I know I should be using the L sleds but alas I do not have them.

I got my VideoMicro mic along my Z50 camera few years back and I still use it mostly for zoom calls, and it works great. I've bought Z30 last year, and now I have both cameras setup if one overheats, and for different zoom for when I demonstrate, so now when I switch them I also have to change mic. I'm looking to buy a new one, so I can keep him on camera all the time.
I'm looking VideoMicro II or VideoMic GO II, and I saw a good price for VideoMic also. Is there much difference between VideoMicro 2 over VideoMic GO 2? Or should I pick another brand that performs better for lower price? At one point I bought one from Neewer, but it's not working well. I was thinking in the range 50-100€

What are your thoughts?
Thanks

I’m going to be working on a scene where two actors are having a dialog during a musical performance in a small club. The director wants to capture the scenes in long continuous takes so that helps with not having to worry about intercutting different coverage during a musical performance. Also the director wants the musical performance to be part of the take, but obviously we would want to hear the dialog as well. I understand there will be significant bleed from the music, but it sounds like that is something the director is wanting to embrace with this project.

So my question is, do y’all have any advice on capturing dialog in loud environments such as this. Would traditional lav microphones work out ok? What about their placement? Is it better to try and get the lav closer to the actor’s mouth, or keep it hidden under clothes? What about dynamic lavalier mics? Is that a thing? What would you do? Any other tips/best practices?

Thank you for reading and thanks for any advice you can give!

I found both windshields on the marketplace for a very good price. $200 for the Rode, $300 for the Rycote. BTW this is in Canadian dollars.

In your opinion is the Rycote better than the Rode, or are they pretty much the same? The Rycote’s retail price goes for $750 so the price for it on the marketplace is pretty good.

I have a Lectro UH400 in block 23 and would like to pick up a LR as a dedicated receiver for the plug on, mostly due to its compact size. Will the LR work with the UH400 in 400 series mode or will I have to change them both to 200 mode? Thanks on advance. I've only really experience with the 411/400 lectros.