Re: Field Audio Question
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But it is common to run a short cable from the mic. to the plug-on transmitter as it makes boomng easier. But I may be wrong, it was a bit fuzzy. |
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Re: Field Audio Question
There is some kind of perverse pleasure in seeing everyone ooh and ah over something and then having someone else come in and say "no, all of that was wrong." Is there a German word for that? There should be.
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Re: Field Audio Question
I think the polite English phrase is "style over substance" and sadly the media industry is full of it these days!
I suppose the German would be "FooBarr" ?? and the American "Bullshit" ??? |
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Re: Field Audio Question
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ART Pro Audio useful for wireless and cabled boom operation and if using cables you could even feed a talkback circuit or IFB into it, they cost less than £50. |
Re: Field Audio Question
If you are using a wirless link, an extra receiver works pretty well too.
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Re: Field Audio Question
Gary & Paul,
I have the EW100. I think you just taught me something. Are you saying that in a situation where you don't want your field mixer and bag hanging on you to monitor the mix as I always do, that you can tune two receivers to the same frequency as the mic? Then put the mixer down and use the EW100 receiver with your cans in the AF out for a monitor? Since I know exactly what happens when two transmitters are on the same frequency it scares me to run two receivers that way. I know it is not the same issue as transmitters but I have never been sure if both receivers would get exactly the same level and quality of signal from the mic? Obviously I am not an audio genius or I would not be asking that question. That is why I hire boom OPs whenever I possibly can. I have never understood why an A-1 at a FOH console is always considered mandatory, even if it is just two mics but trying to get my clients to pay for a good field mixer is like pulling teeth sometimes. That is backwards to me. Almost any basic tech can ride gain on a stage mic....But a boom mix.... that's a different story! |
Re: Field Audio Question
Two receivers are usually no problem. I say "usually" because it can happen that leakage from the internal oscillators in one of two receivers in very close proximity to each other can be picked up by the other receiver and interact to produce noise.
Why would you expect your clients to pay for a field mixer? It's a basic piece of kit, not an extra-cost add-in, and IMHO charging them when you use it is like charging them for each mic cable. Or do you use 'field mixer' in the sense of a person whose job is to operate the audio gear? |
Re: Field Audio Question
We have used two receivers with one transmitter for decades in UK TV to cover huge or multiple areas, I even use older G1 radio mic receivers for multi cam talkback but now have an in ear monitoring system that will do the same!
One other handy application is to plug in an skp 100 to my mixer mono output and feed multiple cameras with guide audio via a receiver on each cam! |
Re: Field Audio Question
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For that matter, if you're using a second receiver to feed your cans, you could also feed it into a second field recorder, and you'd have a backup track in case there were dropouts on the "main" receiver/recorder track. |
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You needed the EK 500 pocket receiver for the headphone output - the EK 100 did not have this. |
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It is a shame that the G2 or G3 don't have headphone outputs but I suppose that would affect the sales of in ear monitors. |
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