Hi Ty,
Thank you. This is about what I need. If I had more time I could solder one myself.
I took a look at your informative web pages. Some useful information, thank you. How many pages is in your book? Regards Johan

Greetings Johan,

Thanks for communicating in english. My apologies. I'm not smart enough to speak your language.

76 pages; including a panic check list, appendix of gear that is always good and another appendix of rental facilities in the US from which you can rent the gear you can't afford today.

I don't know if any of them will ship to Sweden. I was expecting my little book to be consumed in the states but, to my surprise, it has found favor in New Zealand, Australia, Fiji, UK, Italy, Japan, Canada, Spain, Austria, France and a few other countries I can't recall at the moment.

In addition, I offer my free mic tutorial.mp4 video. It's in the Video folder in my On Line Archive. You can see and hear the different mics as I explain why each one has its own best use.

Regards,

Ty Ford

A more affordable option would be the Rolls XLR Personal Monitor AMP+ -
http://www.bhphotovideo.com/bnh/cont...ughType=search

I actually have one which in barely used condition for sale for $35.00 if you are interested.

Look carefully at the specs. The Rolls you're selling is less expensive, but the audio does pass through the Rolls. In the studio 1 productions device, it doesn't. That's important. I don't think the Rolls clips a belt either.

Regards,

Ty Ford

DIdn't know that Ty, thanks for bringing it to my attention.
My rolls came with a belt clip -

Has anyone used the Sennheiser G2 kit with the mic plugin transmitter? http://www.bhphotovideo.com/bnh/cont...=324227&is=REG

I was thinking about ordering this as I use a shotgun on a boom frequently and would love to go wireless, but after hearing about the Lectrosonics losing a lot of sound quality doing this I think I'll just stick to wired.

The SKP 100 and SKP 100 G2 do not provide phantom power. You need to step up to the SKP 500 if you need phantom in a sennheiser butt-plug style transmitter. http://www.bhphotovideo.com/bnh/cont...ughType=search

If purchased in the correct frequency block, the SKP 500 is compatible with the 100 and 100 G2 receivers.

All above is only relevant if you need phantom power for your mic.

I wanted to have similar functionality for shooting documentary stuff so i bought a handful of pieces.

I have a sound devices mixpre in a belly bag for the boom op to wear. The miniplug out hooks into a roland r-09 in a second pocket. Both of these are very very small and lightweight. The mixpre provides awesome preamps and phantom power which feed directly into the r-09. Using this you can use almost any xlr mic.

Then, i have a sennheiser G2. I suppose i could hook the normal feed from the mixer to the clip on transmitter, but i havent tried that. I have the skp 100 (non phantom) xlr butt plug that i plug directly into one of the xlr line outs of the mixpre. Then, i put a g2 receiver on the cold shoe of the camera.

To me its the best of all worlds for run n gun doco work. 99% of the time the audio from the wireless feed to the camera is great. Its in sync and it captures with the picture and for lots of projects its just not worth the effort to sync more audio. BUT, for the cost of a stack of dvd blanks and some dumping at the end of the day, i also have a really nice full range recording that i can even have in 24 bits if i feel like it.

You mentioned a $1500 budget. You can get my setup for for just a small bit more.

I paid $369 for the r-09 (sexy little recorder) http://www.roland.com/products/en/R-09/index.html

I paid $665 for my mix-pre and $592 for the evolution G2 system that also includes the xlr butt plug.

So thats a 24 bit recorder that will fit in your shirt, a KILLER portable AA powered preamp/phantom provider/limiter/mixer that can be used in all sorts of ways and a G2 system with a lavalier mic and transmitter, an xlr (non phantom) transmitter and an on camera receiver all for around $1630.

It probably isnt what an audio pro would use, but its a hell of a lot of versatility for the money.
You get a sweet preamp, a mixer for the boom op, a fantastic limiter (even boom ops get surprised), a really tiny solid state recorder AND a wireless feed back to the camera.

The G2 sounds great most of the time and for the few potential hiccups? you have a pristine 24 bit recording to fall back on. In a pinch you can even use the on-board microphones on the r-09 to record foley/location sounds.

You can save some money by using an old portadat or a minidisc recorder as your belt-recorder, but i wouldnt buy a lesser mixer or a lesser wireless setup.

Thats my 2c. I'm a post production guy who has morphed over to preproduction so i can do my own projects, so take my advice with a relative amount of sodium.

-a

Ari,

Thanks for letting ME know. :)
I've only seen them without!

Regards,

Ty

Guess I'm not following you here. It appears that
the audio also passes through the Studio 1.

The website makes a point of saying the audio does NOT pass through any circuitry.

Regards,

Ty

...or the Rolls PM50sOB
 

... and the Rolls PM50sOB is worth checking-out (make sure that you get the belt clip as well tho'..).. Mic passes straight through - and the headphone amp is suitably potent. I have one and it works a treat.. I use it wired, not wireless, into a SD302 which provides the necessary Phantom power for the mic..
Info / schematic at: http://www.rolls.com/rollsproducts/
Rgds, Ross.
~~~~~~~~~~~~~~

Hi,

I don't want to appear argumentative, but the Rolls has level controls for the mic. I think that means it has to go through some circuitry. Any circuits though which the audio passes offers the opportunity to degrade the audio.

Regards,

Ty Ford

Rolls PM50sOB
 

From the circuit diagram it appears that there is a hard wire link between mic in and mic out. The headphone feed is taken from between the two, and the mic control is part of that feed - i.e. to adjust the level of the mic in the headphones only, not to set the downstream level itself. This particular unit (PM50sOB) also has a monitor input with a separate control to adjust its level as well, so the mic level can be 'mixed' with a 'Return' feed if the operator so wishes. Quite neat. I have one of these and can confirm that this is indeed how the unit works - i.e. that the Mic control does not affect the downstream Mic level, just its level in the 'phones.
Rgds, Ross.
~~~~~~~~~~~~~~~~

Andrew - I'm interested in using your setup, but I'm not clear about one thing: what do you mean by "normal feed from the mixer"? How is that different from the "xlr line out of the mixpre" - or is that the same thing and you were just making the point that you could have used the clip on transmitter instead of the butt plug? Thanks! JP