Not entirely sure on this… but I think I remember getting slides by programming longer note lengths between notes? Sorry for the less than authoritative answer!
Excellent video. I've been doing audio for corporate video, panel discussion webcasts and the occasion drama short film in Australia with Sennheiser G3 100 series and it's been mostly ok. Yes it has limitations but with careful management it's possible to get good results. I know that the producers/videographers I work with mostly do their own lav mics unless the project is bigger than two people on camera or has other reasons to bring in a location audio person. I was fortunate to spend a couple of days on the set of Furiosa in the Mad Max "universe" and got to sit in the audio van picking the brains of the guy who got an Oscar for the audio on Mad Max: Fury Road. There is certainly a step up in quality when you have the budget for it. Sadly I don't normally play in Australia's small feature film sandbox so at the moment I don't think I'd get a return on the investment to upgrade. For me the biggest bang I got for my limited buck was to upgrade mics to a Sanken COS11 or Countryman B3 from the standard ME2. That and having an auto-mixer for panel discussions is one of those things I never want to be without again.
Thanks so much for this comment! Yes production sound is often more about the archer than the arrows ;). How amazing to have gotten to spend some time with an Oscar award winning sound team! That is super valuable. I’ve seen a video of him explaining his rig and I appreciated that he had crafted a pretty unique setup (multiple bit bucket recorders and an analog board) -I wonder if he’s still rocking that in 2024? Glad you found this channel, you’re always welcome here and let me know if there’s any topics you’d like me to explore! Cheers!
I wear similar glasses to you... do you find these pads more comformtable for your ears especially for long periods of wear? I find my ears feel bruised from being pressed against my glasses with the basic HD-25 pads.
Hey! Here’s the deal. The PHA60 approach has some pros and cons. Pros: utilizes existing transmitters, relatively inexpensive Cons: Awkward/clunky, doesn’t mount securely near the microphone end of pole (I added a rubber shim to help secure it), cabling is annoying and pricey. It’s really not the type of cable we tend to carry so you have to invest in backups. If a WTB60 is released I would definitely go for that over this solution. this is a good interim solution that I will still keep in my package as a backup when the new boom transmitter is eventually released. I think HMA style boom transmitters are a lot more elegant, easier to deploy and a bit more safe (fewer cables in the mix). FWIW I think a cool approach might be MTP61 and an Ambient phantom adapter.
@@nicolasfieldsoundservices thanks so much for such a detailed response! I appreciate it! This all lines up with what I’ve been feeling about it. Been doing a lot of research to upgrade out of my Sennheiser kit. Narrowed it down to Wisycom MCR54 and MTP61/60 or A20 with A20/minis. I really think I’m leaning towards Wisycom for a number of reasons; transmitter battery time being a very big one. I do a lot of one man band run and gun stuff. With a little narrative thrown in. If you had to do it all over again, do you think you’d still go Wisycom?
Happy to help! Yeah I am super happy with the investment into Wisycom and will definitely be adding some more channels of symphony wireless eventually. The A20s are quite amazing too, I’m sure you’d be happy either way. I honestly went for wisy because the price to performance ratio was unbeatable
@@nicolasfieldsoundservices thanks for the reply! There doesn’t seem to be a “wrong” choice in the top brands. I’m definitely suffering from analysis paralysis, haha. I’ll make a choice at some point. Keep up all the great content! 👍🏻😃
When you say "jamming things out on my Syntakt". Does Ableton record that automation somehow? I thought the digitakt audio tracks send just send audio to it. Would be cool if you explained how you got all that automation down
Hey hey. The automation is recorded automatically by Ableton! Been a while since I made this video but basically…set up overbridge and it should work :)
@@nicolasfieldsoundservices wow 🤩. I just tried this with syntakt and it does indeed work. This saves me a lot of headache as far as trying to get smooth automation in a track
@@peruperu-jj8zs happy to help! Nah mine is just the standard M Sound Bag with some additional modules. It’s not really designed to fit anything beyond the mixer/recorder so it’s a bit stretched to the brim at the moment.
I had the opportunity to use an 888 recently, it was set to 24bit and was using Dante to send audio streams to a remote studio. Would 32bit setup prevent the use of Dante?
AFAIK it would work but it would add a significant amount of bandwidth to your system. I definitely would stress test switches in advance of any high channel count projects to make sure it is solid.
Thanks! I picked up mine from Audioroot. You can cut them to the right size. They’re much less expensive than the lectrosonics jointed SMA antennas as well :)
Hi Nicolas! I appreciate your videos. Very informative! 😃 I'm just learning about the XL-AES. Are you using the TA3 backplate for the MCR54? What cable are you using to go into the AES? I appreciate the help!
Hey hey! Yup I am using the BPA54 backplate. Actually I believe it’s TA5 to 2x TA3. Standard mic cable works for transmitting AES for short runs like this, I’ve been happy with it so far. Remote audio sells some right angle TA5 cables if you’re going to shove it in a bag, helps a lot with strain relief!
Love the video. I just want to mention that I usually just record a polywav file (with all the ISOS) but never the MIX track (mono or stereo). Why? More space on the SD card, bigger Wetransfers and more space in disk that usually result in a poor AAF file on Protools with no names on the tracks and the sound post team wondering which one is BOOM, Wireless 1 or Wireless 2 for a while, just to discover that they are actually listening to MIX L (or Mix R). I understand that workflow if the picture editor uses the production MIX for editing until Picture lock and then the Sound post team use some reconform software (like KRAKEN), but on indie or local TV stuff, that never happened to me, in my experience. So I just go with the ISO ploywav recording! 😶
Thanks for the comment m! Yeah fair, if it works it works. Every workflow is unique for sure and I know some productions specifically request no mix track these days. I have a friend who only submits discreet ISOs (separate mono wavs) because he encountered too many editors who didn’t know how to open a poly wav file lol! It’s definitely not always straightforward out there. I guess in this video I should have added that including a sound report is helpful for everyone.
Protogear is known for their custom bags@@danislug so you may be waiting a while! LOL They are fabulous - you tell them what you will be carrying in your bag and they'll do a scale mock-up and go through design revisions with you till it's perfect. Then you get your perfect custom bag a few weeks later.
Oh my god you've got my dream bag setup! I just rented the MCR54 and play tested with the MTP61's. Having only ever worked with Lectro and having a couple A20's, Wisycom was very beginner friendly and you can figure out the features pretty easily. Great setup - thank you!
What kinda of input/output cables would I need to run the wisycom MCR54 into an F8N pro? Just learning and planning for the future hopefully - beginner sound mixer haha
The MCR54 Is a slot in receiver that can be set up with different backplates. These backplates screw in to the bottom to enable different connection. You would need to order the BPA54 (I think it’s called) which has two TA5 outputs and Hirose power input. Each of the TA5 outputs two analog or four AES channels. So in your case, you would need two TA5F>dual XLR cables to input four channels via the XLR inputs on the Zoom. I will add that there is an additional “top feed” TA5 on the face of the unit that can be used as well, but you still need a backplate just to get it powered on.
@@nicolasfieldsoundservices thank you for the quick response! only about a year into my sound mixing journey. can’t wait to keep learning more from your videos
Some info from drolez.com for ya: One of the most useful thing is to change the MIDI channel of your Volca FM. Note that this trick works with all Volcas, Volca Drum, Volca Drum, Volca Samples etc. To do so: While holding down the MEMORY button, turn your Volca on Keyboard buttons 1 to 16 correspond to the MIDI channels 1 to 16. Press thebnbutton to set the desired channel, and the LED below the keyboard button will light up.
Great video, thank you. What do you recommend if the sound recordist wants to send a stereo mix from his recorder's line out and transmit it to the Director (who'd have a stereo receiver and headphones)?
Sum the mix to mono ;). why does the director need a stereo feed to begin with? Where I’m at it’s a very unconventional request. To answer your question you would need to assign your stereo L and R to two different outputs on your recorder/mixer and use a Sennheiser stereo IEM transmitter and receiver.
Most often we sync to a Time Of Day clock. So the numbers correspond, more or less to the time of day. A Master Clock must be employed for any time code system to work, I usually use my Sound Devices 833 mixer (set to Time Of Day) as Master and sync the slate and timecode boxes from that.
my setup is g4 with cos11d, I have just bought some wisycom mcr30 & 40s, I can't figure out which is better 40s or 30. from this video the cos11d sound more realistic and slightly open where as the wisycom sound more controlled. Do you think the 30 or 40s is better as I have 4x 30 & 2x 40s but I wanna sell 2 transmitters. Let me know your thoughts.
@@FamousJames not sure, I think the mtp40s is newer and would therefore have some enhanced features. if the mtp40s-UN then it has enhanced ultrasonic protection... these older units occasionally suffer interference from ultrasonic signals in certain environments
@@nicolasfieldsoundservices ok. I wonder about my RX MCR42 because it’s enr so I wonder if it’s too old and should sell before too late with the way things are going.
Nice! I finished mine two weeks ago! You could use Velcro in the top lid, so you can stick devices like smartphones or Timecode boxes to it while charging.
I like the water seal port on the side! I ended up using neutrik powercons for mine and soldered a nema to powercon cable. the only downside is sometimes G/E thinks its one of their cables sometimes so I had to make a huge sound label for it
Thanks! It’s a good solution for folks without soldering experience. I am working on my soldering skills this year 😎. Sounds like a cool build, wish we could share pics in RU-vid comments I’d like to see everyone’s setups
What a coincidence, I actually made mine last month. Currently it just charges AA but I have room to add 9V and Smart Batteries. 😂😂 I did add a 5+ hub usb bay from Anker so I can charge small devices like Tentacles
Thank you for the detailed breakdown. I am very grateful for your videos, among other RU-vid creators, who are bringing this knowledge with an absorbable and in depth presentation. Having these resources to introduce and clarify these sometimes daunting concepts is immensely helpful to new sound mixers.
Awesome insight! Another method that I've found useful is whenever I have a cam hop, I'll strap an IFB transmitter to whatever monitors are in video village and feed the monitor audio into it (usually a headphone jack/3.5mm). Because wherever the client is watching the monitor, the camera department's Teradek (or hardwire) will be carrying the hop's audio as well through SDI. Wherever there's video, there's audio!
They’re pretty straightforward. Broadcast Mix is a recordable bus of my LR Automix with noise reduction applied, which I use for quick turnaround stuff without much audio post production (sports etc). Comtek mix is my mix with Stop Mute for commercials. Camera Hop is just my mix. Private line is usually the boom feed and coms channel with notification bell routed to the channel so me or my team can hear recording stop/start. Hope that helps.
I’m currently running two of the new Deity butterfly antennas through two RF venue splitters in order to connect them to two of the Theos receivers. I’ve been considering introducing a filter into the mix. Do you think this would be a good idea? Or is it not really needed because the Deity butterflies are passive antennas?
Your Deity antennas are designed to receive all the RF from 470-1 GHz, and the front end filters on your receivers have to filter out the unnecessary bits. If you find yourself often working within a certain area of the spectrum, a filter would theoretically be helpful in reducing the work your receiver filters have to do and this could enhance stability. So in theory it’s a great idea. In practice however you might not need this in your signal chain if you’re happy with the performance you’re getting with the system as it stands. Perhaps you could rent or borrow passive filters and run some tests to see if it’s worth it right now?
Awesome! Are you concerned/worries at about your wisycom rx whips touching/being close to the g4 camera hop transmitter? I have heard that they can interfere with each other if too close together on the bag and are best to space away from each other.
Hey! In my experience it’s been nbd. The front end filtering on the Wisycom is pretty awesome and I’m usually running them pretty far away from my hops, spectrum wise. But I do have some XLR to remote the hops transmitter further away if that kinda thing comes up.
Nice setup ! It's really nice to hear why you choose your gear and how you use it Why do you need different busses for your comtek, broadcast mix and camera hop ? I mean what do you do differently between those ?
Hey! Thanks so much. So, I work on stuff for TSN that has a super fast turnaround and no audio post, and I’ve set up the Broadcast Mix as a recordable bus with Noise Reduction to deliver to this client and make things super quick and easy for them. On commercials, Auto Mute on the Comteks is considered standard practice to ensure client doesn’t hear production say anything naughty between takes. Meanwhile, camera hop is good to have running continuously in case they roll on anything while I’m stopped or off set (rare but it happens).
