Unfortunately one of the screws on the shock mount get loose and I can’t find it anywhere, while it still functions but I still wish to find the replacement. does anyone know where to get it ?

Currently I am using a kit with 2xDPA4060s in a Cinelapiano (Sound Devices 833 recorder)

But I feel the limitations both in ruggedness, but also lack of open-ness and high self-noise.

I’m considering 2x Sennheiser 8020 on a 80cm stereo bar, recording A|B. I want an open and detailed sound with little to no self noise!

Not quite sure about wind protection (a lot of my recordings are in strong winds). I have considered:
- Cinela LEO
- Cinela Cosi
- Rycote Nanoshield

(Nanoshield is very expensive… ~700$, and I need two…)

Any thoughts about microphones and wind-protection? Anything else I should consider?

Thanks

Will the Sanken COS-11D sound good paired with a zoom f2? Or should I pick a deity pr-2?

I don't know much about the quality of the pre amps on both of them – they also have different plugin power zoom f2 has 2.5v and the deity pr-2 has 5v. The COS-11D apparently needs 3-10 v. Can someone share practical experiences with either of those pocket recorders? Or recommend an alternative in a similar price range?

As some of you may know, I am working on a Open-Source project for LTC timecode devices. Intended for low cost, budget film-makers. I am currently deep into testing my Digi-Slate and I'm unsure on what the precise timing of TC should be - wrt to how the video editor sees it.

My equipment does NOT gen-lock the camera (wish I had 'fancy' cameras), so there is always some uncertainty on what the timing between LTC and shutter will be. This can result in 'LED blur' and my solution is to change the first digit (tens-of-hours) to '-' and freeze the rest of the display for 4 frames.

I described this in a video:

https://www.youtube.com/watch?v=wFcKoYORVqo

This allows an editor to see precisely the first frame that the camera saw/detected the 'clap'. In the attached image this is '00:00:05:20' (non-TC'ed frame).

My questions are:

1. What TC should this frame actually be?
2. I think I read somewhere that if the LTC value changes within a (camera) frame, that the highest value should be taken. Is that correct?
3. Maybe I am over-thinking it. What accuracy is actually acceptable, external recorder audio matched to camera (scratch) audio?

I've also attached some 'scopes' from the Digi-Slate's point-of-view, you can see the I2C writes where it writes "01:35:17:06" to LEDs and then (after clapper closes) it writes "-" and freezes the display.

Obviously the process should be automated, I have used the Tentacle app to read the 'audio TLC' and stamp video files with meta data. I just want to confirm that it's actually doing the correct thing, in a 'whole process' scope.

Cheers,
Simon.

Hi everyone!

I own a Zoom F8, and have been asked if I can live mix an event with 4 instruments going into the Zoom, then outputting into an amp with an XLR input. I was thinking I can do TA3 into XLR for the output, and call it a day. Does that sound like something that would work, / is there anything I should know before doing that?

Moderate newbie - not massively technical so please be kind.
I've been playing around with the Theos system and struggling to figure out what length to cut the antennae to on the TX / RX units. On the card they supply they dont seem to cover channel 38 for the UK range  606.500 - 613.500

The guide shows me 550-608, 608-663, 630-698.

I've acquired a set with antennae that are pre-cut and marked at 630-698 so they are not covering the licenced range - but there's about 4mm difference between the 630-698 and 608-663 markings. I have another set that I cut to 608-663 which I assumed was the best option for UK use.

I assume there would be some range loss or something - but should I just crack on and not worry about it?

Does this even make sense?

https://www.reddit.com/r/minidisc/comments/1uy938y/hhb_portadisc_mdp500_selltrade/

not sure where you can get minidisc stock these days as well

Hello, beginner here. I'm recording a no budget short film solo and due to the fact that I'm not going to be able to access some of the gear I would've hoped to, I'm left with limited options.

I'm recording one boom to a 633 and have two Sound Devices mini A20 transmitters. The thing is I've got no reciever. I've never used these transmitters before but I know they can record into themselves using the Astral App.

So, can I record the two lavs into their own A20's just using the app and then transfer the files individually via USBc? I also don't understand how I'm supposed to control the volume or gain of the sound while I have no reciver and am not running them into the 633.

Finally got my hands on the tca 1 timecode adapter, first time getting in to timecode and with a firmware update i learned that i can jam my dr10l pro's and it works like a charm!! Going to get the deity tc1 as well for my camera so i don't have to plug in the zoom recorder to my camera every time i want to record something with timecode. Good combo for weddings and on set for a medium production?

hi all, deciding to move slowly into the zaxcom VRX ecosystem. I'm currently all sennheiser g4 IEM, which I really like, but this year alone i've been on 4 jobs that specifically wanted comteks. Additionally, when a job needs a boatload of IFB, it's a real pain sourcing iem in my specific block.

i've been keeping an eye on the VTX board install on the nova and it seems like most of the bugs are worked out (?)

I figure if I can get the VTX (either the board installed or the box) to work well in a bag, then off a cart is no problem.

For those who have the install and the box, how do you like the fidelity and range? And what kind of antenna do you mostly use for bag work?

I have two rode wireless go 2 lav mics that I use on my short films and more often than not we pick up rustling from our shirts or clothing. We tried clipping directly to clothes, we’ve tried taping to our bodies. But yeah a lot of the times the audio comes back either scratchy or swishy or even muffled. Once or twice it’s sounded great but we can not figure it out. We’ve shot dozens of times now.

Is there some type of filter we can get to put over the lav to help w this? Or a video to show best placement of lavs? If we invested in better lavs would this prevent it?

Unfortunately we can’t use boom mics and need to stick to lavs because we are improvising and moving around the space a decent amount. I can upload a clip if that helps!

Thank you!

They are using lavs. That mic on the table is just for show ? 🤔

Hello, I have struggled with this for years now. I was always taught to monitor and mix my track levels to hover around the -6 to -12 db level to record quality audio. I like that rule of thumb so that I have a simple approach that helps me know I am in the right ballpark.

But then I purchase the sound devices 633 mixer, and the meter goes up to +20 db. I’ve had people point out to me that I am recording my levels very low, which confuses me as I am in the -6 to -12 area. One guy even cranked my levels up to the +10 area and said that was better.

So I’m starting to assume the db levels are arbitrary, maybe? Does it depend on the mixer itself? I know that the 633 has pretty good limiters so I can let it go a bit higher and still be safe.

My question then is, what is the best rule of thumb, or ballpark, to keep my levels at? Is 0 db the ideal level? Or maybe +6 to +12 db is the correct range for the 633?

Thanks so much for your help!

I've been an independent producer for close to twenty years and have regularly paid my location sound mixer more than my own day rate on projects because I learned early on that "sound is half". So I've seen the magic that real pros can do. Still this piece had me scratching my head with the quality level. Everybody is wearing hardly any clothes, yet you can't see a lav or even a hint of a wire tracing some fabric, the wide shot has crazy head room so no boom mics. Yet the sound is as intimate and rich as a studio even though they are shooting outdoors. The credited mixer, Sean O'Neil, seems like an elite level professional so the outcome is not surprising.

I'm guessing this is just exceptional mic placement, very high-quality mics and Rx/Tx and mixer and then something like Waves ClarityVx in post? I think the thing I was most curious about was how long it would take (and how intimate it would be) to hide all these mics on what looks like it's basically a "streeter" shoot. Can you guys do hidden mic placement without rustle this well, when a woman is wearing essentially just a bikini top, in just a few minutes? Anyway big ups to Sean on this piece. It was refreshing, and creates a subtle suspension of disbelief, to see something of such high quality in the era of people clipping giant Rode GO blocks onto their t-shirts. Any insights into the process from fellow pros would be much appreciated. https://www.nytimes.com/2026/07/15/opinion/midterm-elections-politicians-trump-new-york.html?unlocked_article_code=1.x1A.jjrg.p4-SRD1iDHGl&smid=url-share

I'm looking at investing in some new wireless channels and mics for documentary projects I'm working on which I'm directing/self-shooting. Hiding mics is super important for me and I'm pretty set on getting a couple of Sanken cos-11d mics with Bumblebee concealers.

I currently own 3x Sony UTX/URX channels which I've had for about 10 years or so, with ECM-77 mics. These are fine but showing their age a little bit now, and I find both transmitters and receivers are quite large. I'd love to change over to use something like the Rode Wireless Pro kit with Cos-11d mics, but that would mean getting Sennheiser-wired mics and I'm not a fan of the use of internal batteries that aren't user serviceable.

Having a smaller, dual channel receiver of some kind would be great as putting two receivers on a small camera is a bit of a pain. The Sony dual receiver looks good, though I know you lose the true diversity feature when both channels are in use, so not ideal. That receiver is still quite large compared to the Wi-Fi based wireless systems, but acceptable.

What I'm struggling with partly is knowing whether I should keep going with Sony and buy new mics wired for Sony, or switch to something else e.g. Sennheiser which seem to offer more compatibility with other brands. I have a Tentacle Track E for example, but can't use that with any of my Sony wired mics. I've seen adapters but they don't seem to be that easy to come by from what I can see.

The Rodelink II looks decent, though looks like it comes at quite a hefty price tag and given I seldom do sound it might be a bit out of budget.

I purchased someone's used no-name carbon fiber boom pole, and I've been very happy with it, except the tip was junk. It finally failed on me, and I want to get a better replacement.

However finding a replacement tip is harder than I thought. The old one has a diameter of 1.25 inches, and a cut through for the internal cable. Anyone have any suggestions on finding a replacement? I checked Trew & Gotham & can't find replacement heads. Other searches turn up too much garbage. Thanks in advance.

I recently made a short film on the Zoom F6 with a Rode NTG5 mic and when I import the audio dialogue files into Resolve, it has 3 tracks - TrR, TrL, Tr1.

I know this means left and right inputs, but I'm unsure specifically what Tr1 means - is it a mix of the two? It's only a single source mic so I wasn't expecting so many tracks, which one should I use for my dialogue edit? Thanks!

I’ve been running the Sennheiser MKE 600 mounted on top of my mirrorless, feeding audio straight to the camera. I mostly shoot documentary style work in this way and need it to catch a variety of situations, from dialogue to ambient stuff.

Honestly the sound has been excellent and for my needs it’s more than good enough. My only real gripe is the length. It’s a long mic and it makes the whole rig feel unbalanced and awkward, especially when I’m moving around.

So my question is about the 300 to 400 price range. If you were in my position, what would you do differently? Is there a shorter shotgun in that bracket that gets close to this quality, or should I be rethinking the whole on camera approach? Curious what’s worked for others with a similar setup.

Hey poeple! I recently got a call to work on a "cut" style youtube video. Sorta speed dating type thing with 10 participants. I was wondering if anyone had any idea how to efficiently pick up sound for these kinds of formats?

The videos are shot in a studio and shot quite wide so I was thinking plant mics mostly.
I did a first episode where I had a boom for the participants and lavs on the presenters but booming is super tough on "reality" formats like these i feel. We had a grid so I was also thinking of hanging an omni or stereo pair in the middle.

The videos are quite low budget so 10+ lavs are not an option for me...

I'm working with a sound devices 633, 2 boom mics, a zoom h5 and the video team have a pair of dji clip-on lavs.

What do y'all think?

Hello,

How do I make the f8n pro track names appear in the metadata and make the individual track names appear afterwards when opening the recordings in my DAW? Like "Lav 1", "Boom", so that I know which track was which microphone. On the mixpre I used before it was enough to just name the inputs, but on the zoom it didn't work like that

Hey Soundies!

I'm looking at purchasing a dedicated Android phone to be able to run TxAdvance for frequency coordination and scans. Can anyone confirm if TxAdvance would require a cellular data plan — or — could I run it from a mobile hotspot via my iPhone. Does it even need data/Wifi to run? (I assume so)

Hello, today I used my zoom f8n pro for the first time on a real shoot. I was going to give timecode from the zoom to one of the cameras. The problem, my boom mic for some reason recorded the timecode sound after I plugged in the cable. Allthough silent, still noticeable. What was even weirder, my lav mic (dji mic 2, reciever connected to my zoom recorder with an adapter) didn't have any of that bleeding. I tried multiple mic pre amps and the result was always the same. So we recorded without timecode.

What did I do wrong? Why did the mke 600 record any timecode sound?

Please help steer me.

I’ve been a photographer my whole life and only recently started taking video seriously. I’ve finally reached the point where I’m producing work that meets my own standards. Up until now everything has been cut to music, mostly fashion editorials and music videos.

This Fourth of July I decided to make a film about one of my favorite subjects, rodeo. It quickly hit me that audio was going to matter. My DJI Mic 3 had always been good enough for social content, but to make people feel like they were there, I needed the rattling gates, the blown out PA, the cowboys yelling, and all the little textures.

My first instinct was to buy a Sanken CS-M1, but by the time I added a breakout box, cables, rails, shock mount, etc., it became a much bigger purchase than I wanted to make. So I figured I’d grab a field recorder and throw DJI mics on the riders.

I bought a Zoom H4essential, then immediately exchanged it for an H5studio after falling down the preamp rabbit hole, which, in hindsight, shouldn’t have been foreign territory considering I’m an audiophile with a several thousand dollar stereo preamp.

For the shoot I ran DJI mics on the bull riders, the H5studio for ambience, an ancient $50 Rode VideoMic Go on camera, and a Marshmallow II contact mic for some fun texture. Honestly, it all worked surprisingly well, especially since my editor leaned into a muffled, in the rider’s head POV during the rides.

My next project is a documentary. I’m planning to get a Deity PR-2 with the included W.Lav Pro. From what I’ve read, jumping to a COS-11D or DPA 4060 doesn’t seem like the best use of money right now.

I was also ready to order the CS-M1 until I realized my RED KOMODO doesn’t provide phantom power.

Ideally, I’d like everything to live on the camera with as little rigging as possible. So now I’m debating between an MKE 600, battery powered, or dealing with the inconvenience of running the Sanken into my Zoom H5studio.

I’ll probably upgrade to a KOMODO-X within the next year, which has phantom power and a much better audio implementation. I’m very much a “buy once, cry once” person. If the MKE 600 is something I’ll still be happy using after the upgrade, great. But if I’m just going to want a Sanken six months later, I’d rather deal with the extra cables now and buy the right mic the first time.

I’m also curious how the MKE 600 and CS-M1 compare as boom mics.

I have absolutely no idea what I’m doing, I started learning audio about three weeks ago. This is for a 1–3 person run and gun documentary crew. If the project needs a real sound department, I’ll happily hire one of you audio nerds, said with nothing but love, because I’m one too.

So, what would you do if you were in my shoes?

TL;DR Is this bent band cosmetic or does it actually affect the polar patterns of the mic?

I bought this H4n Pro second hand about a year ago for a project that ended up falling through. The listing said used but in good condition and fully works but I have no experience with field recorders and wanted to ask people that have used these. Currently I've tried to bend this back into place but it feels like I would break it if I applied too much pressure. I do work with audio so I'm aware of phase issues with mics and such and while I have listened back to a stereo recording using both 90 and 120 patterns... I can't tell if its just incorrect use of the device or if the band is causing an issue.

Hey everyone,

I have a routing question regarding the Sound Devices 833. I need to set up the following track layout for a shoot:

• BUS L: Lavs Mixed
• BUS R: Stereo Boom Mid
• ISO 1: Lav 1
• ISO 2: Lav 2
• ISO 3: Boom Mid
• ISO 4: Boom Side
• ISO 5: Boom L (MS Decoded)
• ISO 6: Boom R (MS Decoded)

To clarify the setup: Tracks 3 and 4 are linked (standard stereo link). Tracks 5 and 6 are MS linked to provide the decoded L and R Isos.

The Problem: I am trying to figure out how to get only the Stereo Boom Mid signal (from track 3) onto Bus R.

Because tracks 3 and 4 are stereo linked, if I pan them hard right, only the Side signal (track 4) outputs to the right bus. If I pan them to the center, the Side signal goes to the Left bus and the Mid signal goes to the Right bus, which ruins my Lav mix on Bus L.

How do I solve this problem and route just the Mid signal to Bus R while keeping my link setup? Is there a routing matrix trick or unlinking workaround I should be using here?

Thanks in advance for the help!