[Daniel De homont]

The biggest issue is in fact: No balanced line, or AES/EBU input, and no firmware update in sight that implements this via firewire attached devices.
Another thing that totally bothers me is the external power input that needs fixed 12V on a non locking connector.
In the past I’ve had the situation more than once, that the take counting on the slate and file names got messed up since the “false take” feature did not work as expected.
Regarding weight, the HD-P2 is conveniently light, however the top buttons aren’t really good for bag use. The 788t, especially with a more or less neccessary external battery is quite heavy and rather for cart and occasional bag usage. The same weight issue has the Cantar and is even bulkier.
If I’d need an affordable 2 track recorder, I’d check out the Fostex FR-2. It’s not much more expensive than the HD-P2 but appears to eliminate some of the discussed issues. I don’t know it though, and never used it.
Just my 2…

[Daniel De homont]

However the latter are still in the higher price range. However “only” somewhere under 2k USD.

[Daniel De homont]

Well, the SuperCMIT is quite expencive, but so is a boom op. The Schoeps might do the magic, if your neighbours PA does not happen to be on the mic axis. Regarding the Audio Technica, I don’t know it, but I doubt, that some low end shotgun with a long tube gives you a similar effect when lets say one meter + away. A conventional shotgun claims to be directional, but that only does not effect all frequencies. The mids, but mostly the low frequencies remain rather omnidirectional. You’ll probably still have better results with a lav. If you do use lavs, well, you could use wired ones and lav’ em up when they already sit. This way, they can at least not run away with it and you don’t hassle with interference.
What if you pick a chair, that does not give that much room for leaning back and forward and use a supercardioid almost vertically? Probably not doable. Better suggest a standing situation, with a good old conventional affordable handheld mic, with a nice custom windscreen with your company logo.
I have few experiences with tablemount mics. Maybe a decent gooseneck might do the trick. If not, consider Cinela mounts. They are quite incredible, regarding decoupling. And the Minix 8000 or CCM with either Sennheiser or Shoeps cardioids are quite small.

[Daniel De homont]

1. Ask Oade

2. There is the Hosa ODL-313, however in the past they had the issue, that they could not generate proper spdif headers that the mixpre does not provide either. I don’t know if this has been solved in newer firmware.
https://socialsounddesign.com/questions/7156/connecting-mixpre-d-to-a-sony-pcm-d-50-via-a-opt-s-pdif-aes-ebu-converter

Although this might not be helpful, but I’d rethink investing any money in a HDP2 based system. It let me down in the past through various weaknesses.

[Daniel De homont]

According to this document:
https://diallers.com/timecode/5010%20Schematics.pdf

Time Code Outputs:
Each of the two time code outputs will drive a balanced
600 ohm line, providing a nominal level of +11 dBm.
Each output also may be used as 2 unbalanced outputs,
in which case they should be terminated with a 300 ohm
resistor to ground. It is not necessary to terminate
unused output pins. The required mating connectors
are Switchcraft A3F or equivalent. Pin 1 is ground and
the signal is on pins 2 and 3.

So, how much are “multiple” cameras/iso decks?
According to the above you could feed 4 devices/daisy chains.
Can the cameras loop the timecode signal through?
But probably, to remain wireless, you either sync all one in a while, or go for an ambient clockit system.

[Daniel De homont]

Hi (this is my first post here, so hello everyone)
The situation describesd is a classic for a boom operator, either with a supercarioid or a short shotgun mic (depending on room reflexions and headroom in the cams frame).
60 seconds are usually enough to lav a speaker, especially if it does not need to be hidden. However lavs have quite a few cons.
What works in the controlled environment of a TV studio with dedicated staff and more or less experiences speakers does not necessarily apply elsewhere.
As lavs are “speaker-mounted” they are basically uncontrollable. They might fall off, catch clothes’ noise, be touched by gesturing and so on. This will happen! And they might demand interruptions for some corrections.
What they can’t do is replacing a boom op.
Just one example:
I’ve recorded a 3 person interview on a fair. When it was done, I took the lav and radio from one person while the other just quickly went away to his next appointment, forgetting he still carried my gear. It took me 30min to track him down.
From my professional point of view, it is not responsible to do a 3 speaker shoot without a dedicated sound person. I would refuse, as ones reputation is probably more important than any job.
If, for whatever reason, a boom op is not applicable, I’d consider a Schoeps Super CMIT (eventually on a cinela mount), on a rather heavy boomed tripod. (as sketched in this image).

This might however be a pricy thing to rent and not in every town available.