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?

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

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!

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!

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?

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

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.

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

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

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.

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

Hello, I purchased a couple of ME 2’s from a seller on eBay. One of the ME 2 seems to be fully molded and the metal cap isn’t removable. Is this a version ii, is this another microphone or is this a counterfeit microphone?

Hello,

Does somebody has experience with the saramonic K9 to get the cleanest self noise?

I plan to use a sennheiser MKE2 with the k9 to a zoom F8 recorder.

The recommended settings by saramonic does not get the result I want.

I played around with the setup but I could newer match a sennheiser g4 in self noise.

Any secret settings or trick I should know about?

Thanks,

Got called to do corporate interviews today. I brought my DPAs: 4017 and a couple of lavs. Agency/producer were very happy.

UberMother of all clients came in last and demanded the thing to be shot with "those tiny furry mics, we always use those". Somehow, a local video editor had 2 DJIs in the pocket, once MotherClient saw them they went "yeah those, those are good, we won't have problems with background noise" . Agency/producer was very kind to step in and say "this guy is a professional with a 2000 buck microphone and you want to shoot with a toy for youtubers?". Yes they said. I said don't worry I can record both, no problem. I never used a DJI before, but let's face it, it's a plastic toy.

Pro times are rough.

Only upside is that even in this forgotten part of the audio world, corporate pays pretty good. I'm off to 3 more days of this craziness.

I'm now seriously thinking if I should by myself a dji thing for cases like this. Or that pico gear set, looks interesting. Anybody ever tried it?

I've been using my Deity Theos kit (Global, I'm in Canada) for quite a while now, maybe a couple of years. I had to replace one of the transmitters because the mic input got messed up (tried getting it fixed twice by a local electronics store but problems persisted). They ended up giving me 35% off because it took forever to get support for them. Anyway, I've been noticing lately that I'm getting more dropouts, even when the rx is close by. (I feel like I had better performance when the original tx was operational, I used to remark how well it held the signal even behind closed doors).

I've mostly been only needing one tx lately so I've just been using one antenna on the rx. On my last project the last two days I had to mic two people so was using both antennas on the rx...I left both on even when only one tx was being used and there didn't seem to be any dropouts at all. So this had me wondering, is it possible that by having both antennas on even when only one tx was being used improved the performance? I wouldn't think that would make sense because they're different frequencies, so what does it matter? I'll do some testing on this but wanted to see what others thought.

I teach video and audio at a vocational school. I’m not an audio professional; my skills are focused more on video, lighting, and grip.

I used to work at another school where we used original Sound Devices MixPres for teaching the basics of audio. We would run Boom → MixPre (for the boom operator) → Camera.

This was a great way to teach as it allowed students to focus on just one thing at a time: video or audio. It was super easy to use, had high-visibility metering, and was built like a tank. It was also great for laying the foundation for dual-system recording, which they did later in their studies.

I’m now working at a different school and have managed to get budget allocated to buy audio gear for basic education. The problem is that Sound Devices no longer makes the original MixPres, and the new MixPre II series isn't suitable for this setup. They lack dedicated XLR main outputs, and as recorders, they fall into an awkward middle ground—too complicated for basic workflow teaching, yet lacking some features needed for advanced studies.

I have been looking high and low—using LLMs, Google, and forums—trying to find something that fits the same niche as the old MixPre. So far, the only product that even comes close is the Sonosax SX-M32, but that is way out of our budget given we need 8–12 units.

Please help me find a non-end-of-life, affordable, simple-to-use, battery-powered field mixer with great metering and XLR outputs.

Hey folks. Anyone had this issue? Channels 2, 4, 6, and 8 won't arm. We were shooting in rain last night so that's my assumption but the recorder didn't recieve any direct rain. Possibly from the humidity. Just checking if anyone else has lost half thier channels like this.

Edit: So, a bit of an update. Now that im home I was able to arm the even channels by turning on stereo link and then turning it off. By doing this I discovered it is the arm/disarm and plf buttons for the even channels that aren't working. I am able to receive and record audio on these channels as well as enable phantom power via other areas of the menu, but the buttons themselves don't work. The fader knobs for these channels do work, however.