Eric Toline
Forum Replies Created
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First I should say that I own Production Sound Solutions in Ft. Lauderdale where we sell, service and rent audio equipment for motion picture & TV productions. In our testing of the F8 when it came out 2 years ago we found that the preamps in the F8 are equal to Sound Devices mixers which are some of the best sounding professional portable units. The F8 records to two cards, one for the 2 mix and the other for your ISO tracks. 48v phantom is individually selectable for each input channel as are the limiters and high pass filters. The F8 also has it’s own SMPTE time code generator if that’s a must have in your work. The F8 has 3 powering options, internal AA batteries, external ac/dc wall wart and external 12v battery power. Like all digital recorders there is a learning curve. Think of the $1300 for the F8 setup as an investment not an expense.
\”I push the RECORD button and hope for the best\”
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The 3e is the newest version of the 3 with better RF rejection and a lower self noise. Sonically they sound identical. A great shotgun mic with amazing ambient noise rejection. OTOH it has a very tight pattern so if you’re a bit off the person speaking you’ll really hear the difference.
\”I push the RECORD button and hope for the best\”
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Throw away that Sennheiser supplied XLR-M and buy a Neutrik XLR-M. The Sennheiser supplied cable is a piece of junk with all connectors molded on to the cable making any repairs almost impossible. A new complete 18″ cable with proper connectors can be had for $30.
\”I push the RECORD button and hope for the best\”
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The H6 & the powered speaker are the outboard units. Remember the output of the RX is unbalanced so the 3.5mm TRS to XLR-M cable will have to be wired unbalanced. If you are using the standard output cable from Sennheiser then it already is wired unbalanced.
\”I push the RECORD button and hope for the best\”
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You absolutely can split the receiver output to other inputs. Just be sure to adjust the input gain settings for each outboard unit. Set the RX output to at least “0” and you should be fine.
\”I push the RECORD button and hope for the best\”
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In the consumer or pro-sumer world global phantom power is the norm. Once you get into the professional world independent phantom is the standard.
\”I push the RECORD button and hope for the best\”
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The standard boom pole setup for almost everything is an internal coil cable terminating in a pole mounted XLR male and a short coil cable XLR M&F jumper that connects the pole to the mixer/recorder. Within the next few years you’ll see more & more cableless poles with transmitters supplying 48vp to the mic with the TX mounted on the pole just behind the mic. In fact Zaxcom has a combination mini transmitter & recorder that is made just for pole use for about $1700 + dedicated RX for it for another $1700. Not for the faint of heart to be sure.
\”I push the RECORD button and hope for the best\”
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I would suggest a call to Zoom tech support in NY.
\”I push the RECORD button and hope for the best\”
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Forget the use of the stereo BP4025 mic for dialog, it just isn’t done. Your best bet would be at least a 12′ internally coil cabled pole with a side mounted male XLR plate. Look at the K-Tek line of poles in both aluminium & carbon fibre construction. For a given length a carbon fibre pole is about $200 more than an aluminum pole but about half the weight. Expect to spend about $200-$250 for a 12′ aluminium pole. Poles themselves are not noisey, it’s the handling noise by the boom op that causes those issues. Don’t forget you’ll need a good shock mount for the mic and also a windscreen or zep with a furry wind protector. That’s about $250-$300 for those items.
\”I push the RECORD button and hope for the best\”
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The “static” is being generated by the phone as it modulates with the sound level of the people talking. Do you get better sound when you don’t use a plugin lav on the phone?
\”I push the RECORD button and hope for the best\”