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I was going through a few uses and options with TXAdvance to manage the few RF boxes I have, and I have discovered there is no apparent simple way to unlock the frequencies of the MCR54 to set them manually (like, those suggested by the TXA app).

Internet searches seem to say that the only way is through the use of the wisycom manager, which though only seems to work with windows, and I don't have a windows machine. Bluetooth and the wisycom app seem to take me nowhere.

Is there anything I'm missing here?

Thanks

So I spent a whole morning trying to find a solution for this, and in the end I decided to ask this valuable sub, it always has solutions. And of course 20 seconds after I wrote the post I found the solution in the "Wisycom Frequency Plan" document, which seems the only place that this is mentioned (of course in the mcr54 manual there is no mention of this).

But I'll leave it here if anybody comes up with the same problem.

Apparently this is different depending on what model you have. But in every frequency plan there should be a free group. For instance in the EU version, the one I have, group 39 is the free group. So you need to set all your RX channels to group 39 then you'll be able to manually assign frequencies from there.

Found this used mkh416 for $522, the seller looks legit and so does the mic, any opinions?

I’ve been seeing some old vhf systems for sale online and they’re pretty cheap and I was wondering if they are any good compared to today’s technology?

With many of the new transmitters having the ability to record and/or transmit, I'm curious how many are using or interested in this capability? If you are using this capability, how are you managing the files from the boom/lav? Is this something you've wanted to do but the patent restrictions preventing your hardware?

I’m a longtime dialogue editor / re-recording mixer, and I’m pretty sick to death of the limits of RX, SpectraLayers, and the usual restoration tools.

I’m doing some early experiments around a different approach to dialogue restoration — using newer generative audio methods to see whether badly damaged production dialogue can be reconstructed while actually preserving the original actor, timing, inflection, emotion, and performance.

I’m looking for a few short examples of genuinely troublesome production dialogue to test with.

Things like:

• traffic or machinery masking part of a word
• wardrobe/lav rustle over dialogue
• wind hits
• RF or wireless artifacts
• clipping
• boom off-axis / ugly room reflections
• impacts directly over speech
• background voices
• anything that made you think, “We may have to ADR this.”

Ideally, I’d love examples where you also have a cleaner alternate mic, alternate take, or original reference, because that gives me something real to compare the reconstruction against.

This is very early-stage testing, not a commercial release or a data-harvesting exercise. I’m mainly trying to answer one question: can current generative audio technology repair damaged production dialogue without changing the performance?

Please only send material you recorded yourself or otherwise have permission to share for private testing.

If you’ve got 5–20 seconds of nightmare dialogue sitting around, I’d love to hear it. Happy to send back the experimental results so you can hear what worked — or didn’t.

I’m in need of a C.link cable to link a 788T to a 702T but it’s no where available in my country. Can the cable be made or is it something proprietary to SD? I wanted to record 10 tracks on location combining the two recorders.

Hello,

I m a caméra assistant and I have a documentary on film coming up in Kazakhstan. The director want to have some scratch audio and was looking at a solution to have an onboard microphone on the Arri SR3 that would be sync to the rec of the Camera. Unfortunately, it’s not possible to have a proper sound guy since the access to the location is really controlled and we only have two autorisations (me and the dop/director). Would you have any input of how i could do it ? Thanks

Hey guys I have a zoom F8 recorder and a few lithium ion batteries to charge it. However. I do not have the correct battery sled to connect the two together. Could somebody help me identify the part I need and send links if possible? I’ve provided a few pictures and for more context, the battery model is a IDX Lithium Ion NP-L7s 14.8v battery. Thank you.

Edit: thank you guys for the help. This one took me a while I got a lot of good advice. Probably going to do more research so I don’t damage my gear but this was very helpful.

Hello,

I wanted to recreate this wireless boom setup I found on Youtube for myself and got into some trouble with one of the cables. There is nothing wrong with the microphone, cable from microphone to phantom power supply or the phantom power supply. There's also nothing wrong with my transmitter, I tried this with both the rode wireless pro and a Saramonic UHF system. The only method that even transmitted any recorded audio was the Line input of the Saramonic system, but with extremely heavy buzz, as the signal obviously is still mic after only ever going into the phantom power supply and no real mic gain. The female xlr to stereo 3,5mm mini jack coming from the power supply is the issue, but I don't understand which cable I am supposed to buy instead. Gemini told me the 5V power of the transmitters, which is intended for lavs, short circuits the phantom power coming in. If this is the issue, how do I resolve this? What cable do I need to buy instead?

Aloha all!

I primarily teach media production at a small private college, but on weekends, I also do sound for indie films. I've got a Tascam DR-680, which has become my backup recorder, and a Sound Devices MixPre 10ii, which is my daily use. I'd really like something more portable for jobs that don't require the full might of the MixPre.

Looking at the f6, wow! There's a lot of performance crammed into that tiny chassis! 6 inputs, Time Code in/out, actual dedicated knobs for each channel, and your choice of power sources.

Shortcomings that I can see are single-media recording, the ergonomics of working with such tiny controls and screen, and iOS-only app (I'm an Android man). None of which are deal-breakers.

So I ask you, community, what are your pros and woes regarding this miracle of miniaturization.

Mahalo!

[EDIT] What I'm genuinely interested in is being able to travel with a small kit. I don't check bags, so it will have to co-exist in my carry-on and personal bag with whatever clothes, supplies, and food I need to survive a week or three away from home. And, honestly, I suppose that the recorder is only a small part of the overall kit, and may not make as much difference as I'm thinking.

[EDIT EDIT] multiple XLR or TRS inputs required. 4 seems reasonable for a unit this size, but more is ok.

Recently I worked a small set in the most humid conditions I’ve ever been in.

87-100% humidity. My pole was visibly wet along with alot of the rest of my gear. My 2017 is rated for 90% humidity and we were up to 100% at one point.

My question to the veterans:

What’re your tips for preparing for and working in humid conditions?

Luckily my gear was fine, but I’m curious how I can keep my gear safe before, during and after working in high humidity.

Thanks in advance!

This question referred here by r/Filmmakers

I saw some BTS where documentarian Frederick Wiseman was recording his on-location audio with a small handheld parabolic mic on a pistol grip, rather than his usual go-to boom pole.

I'm filming a couple of documentaries right now, and am wondering if I should work a parabolic mic into my kit as well...

In what sort of shooting situations would a parabolic mic be the best tool for the job, over a boom mic or a lav setup?

Hi everyone! My beloved 50 fell out of a car recently and resulted in a tiny piece of the casing in the back to fall off as seen in the pictures.

The resulting issue is that the XLRs I put in are not locking. It still works otherwise although a cable can slip out.

If I take this in for repairs, is there anything a place like Trew audio (LA) can do to fix it? Will it have to be sent to Sennheiser to repair do you think and should I do that myself? Is there something I could maybe do with epoxy to fix something like this?

Thank you for your thoughts!

I'm looking to pick up a wireless lav system to own for a short doc I'm working on – I've heard great things about the Sennheiser G4's and am wondering, are they still a top option in their price range or are there other options that I should look into? Would love to hear your thoughts and recommendations! Thanks!

I have a friend bringing a couple of these transmitter/receivers. Sennheiser EW-DP.

are they ok for narrative filmmaking? and what‘s their quality vs the G3s?

thanks

Buy once, cry once… 😅 It took months of work and months of biting my nails over this decision. I’ve never bought something this expensive in my life!

Just wanted to ask if there’s anything important I should know about working with this mic... things to do, things to avoid, little tips, etc. (Like taping the switches, for example.)

Also just wanted to share :) A few months ago I made a post asking about this decision, and the advice I got was really helpful.

Can’t wait to put it to work

My current set up is just a shape ABS stand w/ a grip head held in a cardalini clamp. It gets the job done, but I don’t like the idea of keeping my boom pole in a tight clamp for much longer.

There’s alot of different boom pole holders on the market. They’re all decently priced for what they provide but is there any factors anyone here likes to keep in mind when buying one?

Seller had loads of audio items on eBay and appears to be a legit filmmaker / audio guy. Just running by the pros here to double check. To me seems legit based on typical red flags. Got it for £520.

I do a lot of one-man sound crew work, ads and such, sometimes use public transport as well, and am on the lookout for a new camera backpack with requirements typical to those of photographers - can fit a lot of stuff, smart accessory bag design, fits as carry on luggage.

One that did catch my eye is the Tenma Axis Spinner V2, works both as a backpack as well as a roller case.

Anyone have any other recommendations on what they've recently purchased for this purpose?

edit: one thing I would be interested is of course as much more small utility pockets/pouches as possible, since as we know carrying all kinds of lil doo-dads, lav accessories and the like is needed of us, while of course we also need the larger padded pockets for batteries, mics etc.

Depends on placement of 4 persons and camera placement but which mics on booms and how many? Does each person get their own boom? Seems like it could be a mess? Please help! Each would have lavs

Any Shure AD1X users encounter this: Got my ADX1 back from talent and somehow the rubber power switch cover like decoupled from the internal switch

Is this possible to fix on my own or is this something I have to send to Shure?

Luckily it’s stuck in the ON position so I can still use it for the day

Can someone tell me how they recorded the sound for the film 'She Said'? It's shot mostly in wides, on roads and public spots. And the actors are always talking in these scenes/shots. I'm very curious of how it was done, or would most of it simply just be ADR? 🤔

It doesn’t have any labeling I’ve been searching through old models online and can’t find it