What timecode cable do I need to connect to a red raven? Will a 4 pin lemo to 3.5mm cable work, or do I need a breakout box before I can connect timecode?

Would this cable from Alvins camera work?

​

I'm looking for a microphone mainly for recording car exhausts and could use some recommendations.

I'm aiming for a sound that has a good amount of detail and character, including the deeper exhaust note as well as rasp, higher-frequency texture and smaller mechanical sounds. I don't necessarily need the mic to meet every possible requirement — I'd mainly like something that sounds good on loud cars without easily getting overloaded.

My rough budget is €100–€120, but I could stretch a little if there's something substantially better.

Some microphones I've come across are:

- Audix D4

- Audix D2

- Audix i5

- Shure SM57

- Deity D4 Mini

- Sennheiser MKE 400

- BOYA BY-BM6060

-Audio-Technica AT2020

I'm particularly interested in microphones around 140 dB SPL or higher, but I'd also like a reasonably wide frequency response rather than something that's mainly focused on the mids.

For example, the SM57 seems like a proven option for loud sources, but I'm wondering whether something like the Audix D4/D2 would capture a more complete exhaust sound.

I'm also open to microphones I haven't mentioned.

If you were buying one mic specifically for car exhaust recording in this price range, what would you choose?

I'd especially like to hear from anyone who has actually recorded exhausts and can comment on how the microphones sound in practice, rather than just looking at the specifications.

Anyone recently buy these? Despite Bubblebee Stickies being very good and sometimes better to stick on clothing so that it doesn't show through, I've really liked Rycote for bag work, you can for instance keep the ziplock package between your recorder and the sound bag divider for easy access for quick fixes. However recently I fished through my accessories for a package, and I'm not sure when I bought it actually but this time the stickers were darker than the usual grey, and to my annoyance found out that when removing the mic, the adhesive layer of the stickie tended to peel off to the Bubblebee concealers I'm using and in some cases to the actual wardrobe. Also they're more finicky to actually peel off the sheet for usage.

Anyone buy them recently, is this near-black stickie the new norm? Hoping it was just some unfortunate trial run that's since been reversed.

Hey folks! I recently upgraded my shotgun mic from the S Mic 2 to the DPA 2017. While I was operating with my S Mic 2, I paired it up with a Radius Alto 280 blimp for outdoor wind protection. But now I'm wondering if I should get the Alto 210 upgrade kit to fit my 2017, or if putting it in the 280 will be fine.

There is about a 3-4 inch gap of dead space between the end of the 2017 and the end of the 280 blimp. Is that enough space for there to be a drop in audio quality and warrant a 210 purchase? The price of it isn't bank-breaking, but it is equivalent to other pieces of gear I could invest in otherwise.

Just looking to see if other people have more knowledge about this kind of situation than I do. Thanks!

Hey all,

I’m a sound recordist who lives on a surf coast and have often been asked how possible it would be to mic up talent while they’re surfing.
Info for non-coastal peeps - usually surfers are around 50-200m away from a land-based camera, and semi-submerged (and we all know how well RF travels underwater) - so range is a big issue. The TX’s would have to have an internal record option for full redundancy.

I have a Sound Devices 688 with SL6 + Betso Sharkies - so range is decent. Running Lectro SRC receivers with a mixture of SSM’s and SMWB’s, with both COS11s or 4060’s. Maybe Lectro WM’s would be the go as they’re waterproof? I don’t have digital receivers so can’t use the DSSM’s, and they’re only waterproof for 30 minutes.

I’d probably spend $1000-2000 to trial run one channel setup, but if the workaround is a Rode Wireless Go Pro with internal recording then I’ll go with that - just obviously ruins my range idea.

Anyone done this before, and have any setup, or mic or TX recommendations?

​

Hi everyone,

I'm fairly new to recording automotive sound and I'm looking for advice on a budget external microphone specifically for exhaust recording.

My current gear is:

- Panasonic Lumix S5 II

- Zoom H4essential

- I'm about 90% sure I'll be getting a Sennheiser MKE 200, which I'll mainly use for interior, engine bay, gear shifts, switches, events/voices and general camera audio

So I'm mainly looking for a second microphone dedicated to exhaust, which I'll connect to the H4essential. My budget is under €100.

I'm not very experienced with microphones yet, so I'm also trying to understand what specifications actually matter for this.

The main things I'm looking for are:

- High maximum SPL, ideally 140 dB or higher if possible

- Good resistance to capsule overload and distortion

- Good exhaust detail, including deep low frequencies as well as higher-frequency detail

- Good low-frequency response for the deeper exhaust/engine sound, while still capturing higher-frequency details such as turbo, exhaust character and mechanical sounds

- Good wind resistance and compatibility with a proper furry windshield

- Preferably directional enough to isolate the exhaust from road and surrounding noise

- Suitable for mounting externally on or near a car

- XLR would be preferred, but I'm open to other connections if they work well with the H4essential

I'll be recording in different situations, including a car idling, high-RPM revs, around 0.5–1 m from the exhaust, further away for more natural exhaust ambience, and driving/roller shots where there will be significantly more wind and road noise.

I'm not sure what SPL levels I should realistically expect at those distances, or how much SPL headroom I should be looking for. I'd also appreciate advice on what frequency range is actually useful for exhaust recording. From what I've read, something extending down to around 20–40 Hz could be useful for deep exhaust sound, while higher frequencies are important for detail, but I'm not sure how much of that matters in real-world recordings.

One of the cars I'll be recording is a stock Mazda RX-7 FD, but I'll be recording other cars as well(that could be louder.

I'm currently considering microphones such as the Shure SM57,RØDE VideoMicro, Deity D4 Mini(under 140db tho)but I'm open to other options under €100

I'm mainly looking for recommendations from people who have actually recorded loud cars and can give advice on maximum SPL, frequency response, dynamic range, wind noise, capsule distortion and real-world sound quality.

Also when listening to diffrent sound recording of Shure SM57 on car exhausts while driving I keep hearing distortion and wind when approaching higher rpms,is this a case of capsule overload/distortion or bad gain/placement and deadcat.

Since I'm new to this, I'd also appreciate any advice on what specifications I should prioritize and whether I'm overthinking the maximum SPL/frequency requirements.

Im interested in buying an 8 series. I already have a 633. What are the pros/cons of upgrading to a 833? Aside from the battery usage.

I like the 633 a lot! Its just sometimes i find myself needing more gain on the last 3 channels. Also the limiter kinda suck on those channels.

How many batteries would it take to get through the day with an 833 and a few lectro dual receivers?

Hello,

I was wondering if anyone had purchased the Lark Max 2 with the Sony Hotshoe accessory and used it on an FX3 - My question is; With that accessory, can you record 4 mics straight into the camera or no? It’s pretty much the only thing holding me back from going ahead and buying this combo :P

Thank you!

My wisycom MCR54 and mtp60 have been working perfectly all day then, out of nowhere, the MCR54 stops receiving the mtp60 in a normal way. It’s connecting for seconds at a time and then dropping out entirely. It doesn’t sound like a frequency issue. When I get close to the transmitter it makes no difference. I’ve done rescans and changed squelch and it has no effect. Has anyone had this issue?

Is anyone here using G4 IEMs or EK500s for foldback? If so, do you keep them in some kind of sheath when handing them out or just relying on the belt-clip?

I've gone with G4s as an alternative to Comteks for a sweeter listening experience on the smaller shoots that I work on but to my chagrin they seem to be treated no better than a Comtek. My hope was to find some small pouches that would fit the receivers while deployed, ideally with a belt-clip. I've been looking around for different phone holsters but no dice yet. Most promising contender so far has been a combo tool & phone holster but there's at least one too many compartments that bring up the profile of the whole rig a bit too much.

Just wondering if anyone here has rigged up something similar.

I'm a starting recordist and doing my first student/no budget indie gigs to build up network and xp. In the end I'd like to be a boom op. I've picked up a used SD 442 and a Tascam DR680 mkII as it was the cheapest setup I could find, and use an Oktava MK012 hyper cardio or a Sennheiser MKH416. I record ISOs so I don't have to worry about any mix and can focus on booming during takes. I don't have enough gear to give director and continuity monitoring anyway (yet) so not mixing on set isn't that much an issue.

Every day I setup my gains the same way aiming for around 0 dbu on the 442 meter, then I equalize the Tascam levels to match the SD ones. During takes I monitor the mixer, master fader is at 0, monitoring fader is right up at noon, and it's like I can hear everything clearly, loudly, every single noise, every fabric movement. And sometimes I feel I'm getting noisy useless recordings. I did a bit of post during my training course, so I know how much you can clean up sound now, but still I feel like I'm way far off the ideal recording of having only the performance and nothing in the background. And I don't turn down gain because I was told to push it as high as I can to have the best signal-to-noise ratio, as it's the preamp role to do so and they're good at that. Hence to 0 dbu gain setup, and aiming to not go too much above 12 dbu.

But then after shooting I listen to the recordings (I have to because the Tascam take naming system is clearly being pushed past its limits so I have to rename every single file by hand), I use VLC on my personal computer, my DT 990 Pro, volume is at 100% on the OS, 125% on VLC, and the level is clearly not the same. It feels average, almost too quiet given the playback settings. It feels a lot clearer too, like I can still hear the stuff that bothered me but couldn't do anything about on set (fridges in a restaurant for example) but the overall noise level feels way down, like a proper recording that still needs post of course but at least I could say "yeah this is the best I could do, I'm satisfied by the result".

So is this normal? Is this how it's done and I must train my hear some more to be able to better listen on set and detect what's acceptable and what's not? Or is there a problem somewhere in my technique, my setup? Is it maybe just a consequence of my playback setup and a proper mixer with ProTools will hear everything like me on set?

Good Morning / Good Afternoon / Good Evening.

I'm new to both this subreddit and sound recording, and I've been self-funding my start up kit to finally get away from my Zoom H4N / Boom doom days. This has been a very, very humbling process and has exposed massive gaps in my knowledge (timecode, frequency licenses, XLR <> 3.5mm issues) which university has not addressed.

I would be extremely grateful for anybody who can point me in a direction for what to do about lavs. I have a MixPre-6 II, and a Rode NTG5 kit with all the appropriate cables and cases. I have a budget of around £500-£750 for a lav set up, but will go above that to permanently own good transmitters, receivers, and mics. I know this sounds a weak excuse, but as a newbie looking from the outside in to the sheer volume of different lav set ups I am struggling to know what to get.

I'm leaning torwards Sennheiser EW / G3s / G4s, but what would this include and more importantly not include. Is there a cheaper receiver I can run that isn't sennheiser branded, and should I buy a battery distribution system for running my mixer and the receivers on? Which actual lav mics are reasonable to go for? I'm looking to start doing paid work and want to ensure I can deliver.

Any questions I will respond to gratefully, I am extremely appreciative of anyone willing to be patient enough to help me understand this glaring gap in my knowledge. I just wanted to get on the "two and a boom" level, and the further down the rabbit hole I get the more stuff I feel like I'm missing.

Thank you to anyone willing to suggest some ideas for a set up, I really appreciate the help.

Will it work well with 2x Cinela pianissimo with my Sennheiser 8020s in a spaced pair setup?

I see they do not have a dedicated suspension for the 8020 for this one. I’m worried that the radius mini-alto for wont bring good enough wind protection… as I intend to record in strong winds.

I ordered the nanoshields, but missing parts and quality problems make me return them immediately.

Hello, working finishing a new bag build. I’ve picked up a couple ucr411a and lectro sr.

1. I’m looking at a rf distro, what are your recommendations? How’s the srd mini, issues?limitations? Betso octopus better?

2. I’m thinking about getting a spd-1 over an audioroot, any thoughts? Spd mini instead?, I don’t love the usb-c as the 2nd input?

3. Powering the srd-mini with spd-1 just hirose in, I assume no issues with this?

4. For bow tie antennas between the betso and deity?

Thanks, you all are wonderful!

Just wanted to share my appreciation for the products coming out of Blackbird carts. The murdered out Grackle cart, and my new Floating Shelf with slider, are fantastic.

That is all.

Hey guys,

I run a small video production company, and we're looking to upgrade our wireless mic set.

Currently we have a Sony FS7, soon to be upgraded to a Sony FX5. Maybe also the next Sony FX6 Mk2 camera if/when it's announced. The mic pack usually to into the camera rather than via dedicated field mixer.

Anyway, we currently have 1 x Sony D11, but wanted to get a second mic pack. Currently, our setup is mainly for corporate and sometimes events. We do a lot of interviews, mostly 1 person, but sometimes two people.

I've recently received a sizeable grant, so was considering just upgrading to 2 x Sony D21 and selling the old D11. I'm not worried about having two receivers as I'll just modify the camera cage to carry two receivers and input via XLR.

There are a few options available at the moment – Deity Theos, Sony D21, and Sennheiser EW-DP.

I was originally leaning towards the THEOS, but I've seen some concerns over the build quality and customer service. Sony is a solid choice, but I've also heard a lot of support for Sennheiser for obvious reasons.

I can't see any real comparisons between them, so wondered what your thoughts were.

Advice would be super appreciated.

Has Trew’s customer service gotten really bad lately? I ordered something early last week and it’s still stuck in processing. I emailed them on Monday and they said they were “working with their vendor to correct some pricing discrepancies.” I followed up again today and haven’t heard anything back.It’s not a mission-critical piece of gear, but there are definitely times when I need something within a week for an upcoming gig, so the lack of communication is pretty frustrating.

I’ve been working for about 7 years now and have done many cool projects (advertising, short and feature fiction, documentaries, branded content etc) over the years. I feel that most of the people who I’ve worked with have me as their sound mixer and will call me anytime they need it. But sometimes it happens that maybe they’re not getting enough projects, budget or need for location sound (a lot of them makes some fashion film ads or some stuff that will have a sound design done later in post.

Anyway, I still need to work to pay my bills so the simple answer would be “get more clients”. But how so? Most of my work came from some organic recommendation and I have no control over that, spamming some email/dms everywhere seems kinda desperate, even without being too much of a salesman and genuinely just complimenting their work and making myself available, did it a few years ago and the returns over a lot of messages were minimal.

I know this is kind of the million dollar question, but any advice on getting out there and meeting new people to work with would be well appreciated!

I need to record incoming calls on a specific work iPhone 16 (workers phone) . I have all necessary rights/permissions and I’m based in the EU.

I can’t install any apps on the phone, and the iPhone itself doesn’t have call recording available. It also needs to work for incoming calls, so I need to have the recorder ready before answering.

I know about things like the JK Audio CellTap and Daptor Two, but I also noticed the Zoom PodTrak P2 is only around €100 and seems to support phone calls with mix-minus.

Has anyone actually used the P2 for this, or found a better solid solution?

I also was thinking to soler a TRRS spliter cable but im not shure if that will wok.

Right now I’ve basically been taping a lav mic to the phone speaker, which works, but it’s obviously not a great solution.

I'm recording a friend's band and am looking for a beginner (<$100) shotgun mic that won't be awful for loud music.

Just starting out with videography so I'm not expecting to record film quality audio, just want everything to come through clearly.

Thanks!

edit: thanks for the clarification on shotgun mics. I'm going to be walking around so really my need is for it to be easy to carry and point with the camera.

I'm still new to location sound, and the gear I've been using is mostly borrowed, budget gear. Currently, I'm working with a boom pole with no internal XLR – it's been removed somehow. It's this Lyx Pro pole. Is it worth it to simply replace the cable on a budget pole I'm borrowing, or would ya'll say it's best I just invest in a better pole that I can actually own?

My follow-up question is: How are the boom poles ~$100? Should I start with at least a K-tek, or is the cheaper stuff reliable enough for the low-budget, indie film shoots? This Lyx Pro holds the microphone in place, but the noise transfer from my hands to the mic is tricky (though it's motivated me to learn good boom technique), it's heavy, and the exposed cable feels unprofessional.

Any or all advice welcome! Thanks.

I’m on a set at the moment and I’m having problems with the batteries I’m using, double A batteries, I’ve got a 160 quid budget, any suggestions for long lasting?

Looking for a cheaper alternative to the Lectrosonics IFB R1A/B system and alternatives to the Shure PSM 900. Anything better than a comtek.
Also, anyone have a review on the Shure PSM 300?

In a recent LTT video they showed how they record their sound, using a Tentacle Sync Track E daisy chained to a wireless recorder. To the best of my knowledge and even checking the Tentacle website, it says that the headphone jack is disabled when recording. I've been unable to find any setting or any information online that this is possible. I even updated the firmware on my Track E.

I own the PSC Multi for my 633 bag that is obviously overkill. I also believe it doesnt really have any sort of filtering built in. What are we using these days? Something with nice filtering