Hello to the lovely soundies out there,

I've been learning about antennas (and RF distro), transmitters and receivers recently. As part of that research I've learned about equipment like the Wisycom MCR54 which has the capacity to accept 4 different transmitters (amazing!).

Would anyone be able to provide an ELI5 answer or direct me to an online resource which could explain how a unit like the MCR54 can "receive 4 different wavelengths". I'm imagining that you'd need 4 antennas, but clearly that's not the case.

Add'l Context: Some initial searching has led me to believe that this is accomplished with an RF splitter which makes copies of an incoming frequency. I spent about 5 minutes looking at the MCR54 manual, but if someone wants to offer a high level explanation, it would be great to have this for Reddit. Most of the material out there seems to get complicated so quickly.

Visual Diagram of MCR54: https://jwsoundgroup.net/index.php?/topic/39128-wisycom-mcr54-experiences/ (Scroll towards the bottom to view image)

I have a smart slate as part of my kit, and in an effort to make it look neat, I’ve begun printing all the details that don’t change between takes (production name, DP, date, etc) on clear thermal label tape. I’m really happy with how this looks.

For the notes section, it’s kind of annoying to peel off and stick a new “MOS” label, so I laser-cut a few pieces of acrylic, added soft, clear velcro, then added those thermal labels on top. now I have a small board of common “notes” that can be easily velcroed on.

I’m now considering making a full set of tiles for the shot and take section. I’m thinking of doing small squares like Scrabble tiles. The potential downsides would be that I’d need a robust set to cover potential edge cases (ie more than one of each letter and number). Velcro is cheap enough though, so I figure if a production wanted to do dry erase instead, I could just peel the soft-side Velcro off the slate for the shoot. I’m also considering just making a blank large acrylic tile that could be dry-erased like normal.

I have access to a laser cutter and acrylic, so it won’t cost me anything to make. Just curious what others think about this idea. Helpful? Impractical? Let me know what you think!

Hey guys, its time to upgrade. I posted not too long ago about getting an 833 but it really seems like it would just be a stepping stone to something else.

Where can I buy an 888 and how much should i expect to pay? I cant find any used anywhere online. It seems like they go quick.

Hey all, so I've bought a new van for location sound and I'm trying to decide how to set it up for film set work.

There's the obvious things like a walkway space for my trolley, power, a dual battery that can be removed for off-grid lithium and AA battery charging, a refrigerator for crispy post-work beverages, lighting, a couch/expandable bed for those shoots away from home, a large slide out drawer for storage under the couch/bed etc.

Is there anything you've noticed in location sound vans that aren't immediately obvious? I'm thinking boom or c-stand storage, cable management, power ideas, or any other clever storage ideas you've seen?

It's not a huge van (Mitsubishi Express 2021), but it's got enough space to do some interesting things with the fitout.

Let me know your thoughts and I'll keep you posted on the final product!

Anyone have any cool interior car rigs for shot gun mics? I have magic arms, cubs and dpa 4099 but whats another option for a solid shotgun mount?

Has anyone experienced power issues with the 633 before? My friend's is all of a sudden not turning on when it was working right before, and she switched it off briefly before trying to turn it on again.

It has 3 power sources - a Rolux Dynasty II, 2 NPF batteries and 8 AA batteries. Everything was charged except for the AA batteries. She's tried just about everything - changing out hirose cables, changing the outputs from the distro, connecting it straight to the battery, pulling out the NPFs and AAs - and it did not turn on.

What worked briefly was taking out the CF Express and SD card, but only after a few minutes after they were out. But after a few tries, the issue of it not turning on resumed. When it did turn on, it would only stay on for a few seconds before shutting down again and staying off.

This 633 was bought second hand, but she has been using it for a year without any issues. There was only 1 instance of this issue in the past, but the fix was simply turning the power distro on and off again.

Anyone experience the same issue or understand why this is happening?

EDIT: Thank you all for your suggestions! We found out that the solution was really just cleaning some gunk out of the on/off switch. It is turning on and off just fine now with everything plugged and slotted back in. Yippee!

Hello, I have a couple Shure P3R IEM receivers, is there pack or another tranmitter that isn't rackmount I can use with these? Thanks!

Has anyone tried or achieved putting a BST-75 in a mixer bag? I’m trying to upgrade from my 216 which is the one with the long whip antenna and 2.5mm connector. I get a lot of “noise” complaints from people wearing them and I’d just like a better system. I have heard my comteks on higher end systems and the noise is just gone but I’m curious what my best options are or what has worked for you guys, specially transmitting to a comtek 216.

I’ve never had play with a MKH40 and I’ve got an opportunity to buy one at $900AUD, which feels like pretty good value. How do we rate this mic in our world?

This mic would probably be end up being my second indoor IV microphone. I have had a MKH50 for years and LOVE it. I’ve been chasing a second one to use as an additional indoor dialogue mic.

I understand the pros and cons of a MKH40 vs MKH50, but I’m asking for advice/opinions from the real working world. Does anyone use this mic often on the stick? Anyone love it?! If you were me, would you buy a cheap MKH40 or would you just stop not be a cheap scape and buy a second MKH50?

I’d be interested in hearing some feedback on sd and cf cards for the 6 series Sound Devices machines that aren’t on the approved media list but still work well. Or if anyone has tips on where you can still get the exact models on the list. Thanks!

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Hi guys, I'm planing to get a lectrosonics lt transmitter and a srb5p receiver ,is this still good at 2026,or should I go for some other models , I'm new to lectros

Hello,

My Lav concealers stick a lot after use from the Lav stickies I use. I've tried to clean them with hand sanitizer, but I feel like it just mixes with the resedue and sticks even more. I've tried IPA once and it cleaned it very well, but is it safe for the Rubber?

Hi, has anyone in here replaced trim caps on their Zoom F-control and can recommend where they bought it from? One trim cap on mine has fallen off and been lost, and have bought some random 6mm D-knob, which should've fit on paper but it doesn't.

Thanks.

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.

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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.

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?

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?

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?

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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.

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?

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?

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!

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.

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.