This is an extract from track 27 (the CD has 28 tracks in total).

As supplied: http://snd.sc/WWAvgz

On the CDs I got back: http://snd.sc/OWtlJF

I've never heard anything like this and never had problems before with this company so any ideas what can have happened? Anyone know about CD replication from a glass master? Before I get back to the company!!

Any other alternatives aside than using moleskin to muffle the lavalier (once installed) ?

Thanks to answer

Price: from $1 shipped

http://www.ebay.com/sch/i.html?_odkw=sop%3D15%26+osacat%3D0%26+nkw%3Dcoiled%2B3.5mm%2B%2B2.5mm%26+sacat%3D0&_osacat=0&_trksid=m570.l1313&_nkw=coiled+3.5mm+2.5mm&_sacat=0

3.5mm to 2.5mm cables also exist

Can be useful for cheap wireless systems used with GH2.

http://www.ebay.com/sch/i.html?_odkw=sop%3D15%26+osacat%3D0%26+nkw%3Dcoiled%2B3.5mm%2B%2B2.5mm%26+sacat%3D0&_osacat=0&_trksid=m570.l1313&_nkw=coiled+3.5mm+2.5mm&_sacat=0

http://www.ebay.ca/itm/Shure-VP83F-LensHopper-Camera-Mount-Condenser-Microphone-w-Rycote-Lyre-shock-/151253483545?pt=US_Pro_Audio_Microphones&hash=item2337690019

Thanks to answer

Specs

• Battery powered with 3.5mm plug
• Includes shock mount and fur wind protection
• Dynamic Range 114dB
• SPL 134dB
• THD ≤0.5%
• Sensitivity -30±2dB
• Signal to Noise Ratio 74dB
• Battery Life ≥200h
• Weight without battery is 90g
• $119 MAP

Via: http://www.aputure.com/V-Mic-en.html

After quick googling, it seems that Sony MDR-7506 and Sennheiser HD 280 are the popular choices in the sub 100 price range. What I want to know is :

Do I need a amp for any of those 2 headphones? I'm currently using built-in audio from my PC, and I would do an upgrade but I'm not sure if buying a Sound Blaster card will do anything for the levels of headphones?

I did find Asus Xonar soundcards that have built-in headphone amplifiers, is anyone familiar with those?

Comes with lapel mike. usually such recorders are used by wedding guys and other people who place them in pocket of person you intend to record.
In other words, using them instead of wireless audio systems.

Price - $28 shipped

http://www.ebay.com/itm/VS2-Professional-LCD-Screen-Stereo-Digital-Voice-Recorder-Dictaphone-4GB-Black-/400618740673

Metal one, but this one record only MP3, not PCM

Price - $18 shipped

http://www.ebay.com/itm/New-2GB-540-Hours-Digital-Voice-Recorder-Pen-Dictaphone-MP3-Player-Claret-red-HK-/221386225165

Note: I bought the GH1 to record a baby shower coming up so it's gonna be in a big hall, dj, loud music and all that so I believe the mic will perform in these conditions. I will mount the LS100 onto a rig and do all the production myself. The GH1 is no hacked so I'm not sure if the AGC will affect anything. I don't even know if the GH1 has AGC. I looked into getting a JuicedLink but the LS100 was a complete steal so I'm going to try and stick to this setup as much as possible.

The LS100 has Left & Right XLR mic input with phantom power do if I need to upgrade to a better mic than the internal LS100 mic, I can, but again, I prefer not to.

I just want a simple rig, LS100 & GH1 and some wires to connect the two and get pro audio. Am open to other suggestions as far as attenuator cables and maybe a mic upgrade but this is going to be my primary rig.

Thanks in advance!

The MKE 600 comes fully equipped with a foam windshield that reduces wind noise by around 25 dB; the shock mount and a carrying case are also included. For outside broadcasting, a ‘blimp’ basket windshield (MZH 600) – a combined foam windshield and hairy cover that reduces wind noise more effectively than a foam windshield – is available as an optional accessory. A further option is a coiled connecting cable (KA 600) from an XLR-3 connector to a 3.5 mm jack plug.

Specs:

• Pick-up pattern - super-cardioid/lobar
• Frequency response 40 Hz to 20 kHz
• Sensitivity with P48 phantom power 21 mV/Pa
• Sensitivity with battery power 19 mV/Pa
• Max. sound pressure level with P48 132 dB SPL
• Max. SPL with battery power 126 dB SPL
• Equivalent noise level with P48 15 dB (A)
• Equivalent noise level with battery power 16 dB (A)
• Power supply 48 V ± 4 V (P48, IEC 61938) via XLR-3 or
• AA battery/rechargeable battery (1.5 V/1.2 V)
• Current consumption with P48 4.4 mA
• Operating time with battery approx. 150 h
• “Low Batt” indicator < 1.05 V; approx. 8 h remaining operating time after initial indication
• Diameter 20 mm
• Length 256 mm
• Weight 128 g (without battery)
• Operating temperature –10 °C to +60 °C

The MKE 600 will be available from IBC 2012.

At least it's an attempt to make life easier for us location sound people. Here in the U.S., of course they took away the 700 band and I had heard a rumor that in a few years time the 600s would go. So seeing this helps put me at a peace of mind – I already have enough trouble with finding good frequencies and not getting RF hits as it is. Just thought I'd share if anyone had additional news or wanted to contact their rep.

What I would like: A significant boost in pre-amp quality. Good mounting options with rig&GH2. I don't do any narrative work but it is imporant for me to be able to work comfortably as a one man band (small documentary etc)

The options I came to now: Juiced Link RA333 and into GH2 (maybe with cheap recorder later).

Tascam DR-60D. I am not sure about preamps in comparison with Roland or Marrantz for example

Roland R26 or Marrantz.

And at wich I switched the past few hours: Fostex DC-302 Bit pricey over here (800 euro) but ordering at B&H might save me some money. And I've read a lot of good stuff about it here on PV.

So my question(s) would be: Wich solution would give me the cleanest audio? Doubting about pulling the trigger on the Fostex beacuse of it's size. Saw some mounting pictures with GH2, but not a lot. Will it be comfortable working as a one man band?

The last point is why I ruled out the (here highly regarded) tascam DR680, I feel it's too big to mount on a rig.

Am I getting in the right direction here?

1. In a studio for voiceovers and
2. For recording on set film audio.

However, I don't know which of these to get. Both are very highly reviewed and both have VERY different price points.

The cables in question:

Mogami Gold Studio 15 Microphone Cable Quad Conductor http://www.amazon.com/Mogami-Gold-St.../dp/B0002E1P30

GLS Audio 25 foot Mic Cable http://www.amazon.com/GLS-Audio-Cabl.../dp/B003JJQMD8

Is one really worth 3X the other one in terms of quality? Would either of them be appropriate for BOTH studio and on set film work?

Thank you for reading.

It's a question about the sync issue. I do a number of long events, mainly plays, that run 90 minutes or so. I've been hearing that the Tascams drift out of sync after an hour or so. Haven't heard as much about the Zooms (save for people shooting PAL). So the first question is whether the Tascams have been fixed on this point, or if the Zoom H4N will or won't drift out of sync with my video.

I understand that I can plug these recorders into my camera's mike port, and record directly onto the video. If I do this, then I have two questions. The first is how the camera records this: does it record multiple tracks onto separate audio streams? Or does it consolidate it into a mono audio track? The second is whether the record can record its own multitrack audio file while it's feeding the camera something. (This'd make post-synching easier, and give me more options for audio mixing.)

http://www.bhphotovideo.com/c/product/904658-REG/senal_ms_66_k_dslr_video_mini.html

Just came across this browsing on B&H. Interesting model name, very interesting price point. $80 and it includes a decent looking shockmount.

There's absolutely nothing about this mic online besides the B&H page. Senal already makes an excellent copy of the Sony MDR-7506 headphones (Senal SMH-1000), so I guess they decided to get into the microphone game as well. Anyone want to give it a shot? I may have to in a couple weeks.

VP83/VP83F LensHopper™ are camera-mount condenser microphones and the VP83F with integrated flash recording/ playback (MicroSDHC) that enables WAV file capture at 24-bit / 48kHz sampling rate.

• Highly directional supercardioid / lobar polar pattern
• Isolation suspension system to mount via standard-size shoe mount with a 1/4" threaded base
• Dedicated headphone audio output for real-time headphone monitoring
• Micro SD card slot allows “pop-out” card access
• Back-lit LCD screen features activity monitoring from home screen, including indicators for audio and battery metering, track information, headphone volume, mic gain, low-cut filter, and remaining recording time
• Five-position joystick provides controls for headphone monitoring, low-cut filter and mic gain adjustments, track management, and playback support (Play, Pause, Forward, and Rewind)
• One-touch Record button
• Adjustable user gain (up to 60 dB in 1dB increments)
• 10 Hours of battery life from 2 AA alkaline batteries
• Price is $350 (see, for example, B&H and Amazon)

http://www.shure.com/americas/products/microphones/vp/vp83f

VP83 Users Guide - PDF

== Preview: ==

It is using advanced ADI DSP chip. Has complete single-chip audio system with a 28-/56-bit audio DSP, ADCs, DACs, and microcontroller-like control interfaces. Signal processing includes equalization, cross-over, bass enhancement, multiband dynamics processing, delay compensation, speaker compensation, and stereo image widening. This processing can be used to compensate for real-world limitations of speakers, amplifiers, and listening environments, providing dramatic improvements in perceived audio quality. Most processing is done in full 56-bit, double precision mode, resulting in very good performance. It is a fully programmable DSP. The easy to use SigmaStudio software allows the user to graphically configure a custom signal processing flow using blocks such as biquad filters, dynamics processors, level controls, and GPIO interface controls.

Long story short. If you use it 2.1 system you can add advanced parametric equalizers and tune subwoofer crossover as you like. Still having USB DAC, headphone amp and power amp included.

If you have big 3 way speakers pair of such devices can fully replace passive crossovers and amplifiers (thing usually done with DCX2496 - http://www.behringer.com/EN/Products/DCX2496.aspx and additional amps).

It is now very widely known product, but this company exist for quite long time already.

• GD33 - http://www.aliexpress.com/item/DSP-CLASS-D-AMP-SMPS-2-1-OR-THREE-WAY-HI-FI-AMP-WITH-ANALOG-SPDIF/522265351.html
• GD22 - http://www.aliexpress.com/store/product/DSP-CLASS-D-AMP-SMPS-2-1-HI-FI-AMP-WITH-ANALOG-SPDIF-USB-SOURCE-SELECTOR/601158_536791086.html

Price: around $160 shipped

http://www.ebay.com/itm/HLLY-Mini-USB-DAC-Headphone-Amplifier-MK2-SPECIAL-/260503078087

I was with a high end production studio who'd done quite a few shoots with this set up and said they had flawless results. They kept telling me it was "the industry standard."

However, upon arriving at the client's studio (A beverage company I will not name), the producer and director asked us what mics we were using. We hadn't started recording yet.

We already told their office earlier we were bringing MKH 416's since it's an exterior shoot and confirmed this with their secretary. However, when we repeated this to them at the set, THEY FLIPPED OUT.

They said:

"Why would you bring that ancient mic to a professional shoot? I had my secretary look up that mic and she told me it was over 40 YEARS OLD. She managed to find a better version of it called the MKH 60 within 5 minutes. WHY WOULDN'T YOU BRING THAT? YOU HAVE THE NERVE TO CALL YOURSELF A PROFESSIONAL STUDIO AND YOU CAN'T EVEN ADAPT TO THE NEW INDUSTRY STANDARD?"

He kept going on and ON about how bad it was and how we should have known better. He terminated our contract and now my boss is saying we might sue him.

I don't understand what I did wrong. Is the 416 really that bad and out of date now? We'd never lost a gig because of our equipment, but if the 416s are old news, should we just replace all of ours with MKH 60s?

http://www.ebay.co.uk/itm/MONO-TO-STEREO-MICROPHONE-PLUG-IN-POWER-BATTERY-MODULE-/280567421956

I was looking at these: http://www.bhphotovideo.com/c/product/1014097-REG/mxl_fr_366_lavalier_interview_kit.html

or maybe this:

http://www.bhphotovideo.com/c/product/68054-REG/Audio_Technica_W88_13_829_W88_13_829_Camera_Mountable_VHF.html

Are there any sub 150 wireless systems or lav mic kits that would work for an interview in a small room with minimal background noise?

I set both up to record dialogue between two people for a video I was shooting and the 4053B sounded MUCH better than the 4047.

The 4047 sounded like I was in a soundproof studio and nothing else was around. When playing the video with the 4047 audio, it didn't fit right at all.

But the 4053B sounded so natural and made me feel like I was actually there. It didn't sound closed off and isolated like the 4047.

Why such a big difference?

I'm not gonna get into Lavalier mics for now - simply can't afford them (unless I find some worthy cheap deals to experiment with). But when I do, (if I'll really need to get Lavs for some wide-shot dialogues) I'm thinking to have a cheap setup like this http://www.danmccomb.com/posts/678/zoom-h1-as-wireless-lav-4x-cheaper/ with Tram TR-50 plugged directly into Zoom H1 (yes, you can't monitor, but hey it's a cheap solution). From one of the comments on that post, someone mentioned Oscar Sound Tech OST 802 lavs, which seems to be 1/3 of the price of TR50 (circa $120).

Here's a comparison/test with Sennheiser ME2

Have you ever heard of these OST802 lavs??? Someone even did a comparison between Tram TR50 and OST802 here http://proaudiocoalition.com/index.php/cdolan-pac/story/my_lav_mic_has_a_first_name_its_o-s-c-a-r/ (Tram TR-50 in the right ear, and OST802 in the left ear). OST802 indeed sounds very very similar to TR50 (although OST802 sounded a tiny bit "flatter", but nevertheless a whole lot more pleasant than Sanken COS11D or Sennheiser ME2).

What's your opinion?

Specs:

Lightweight Design At only 2.6 ounces,
the VideoMic GO is ideal for run-and-gun HDSLR recording without the additional weight of larger on-camera microphone options.

Integrated Rycote Lyre Shock Mount
Constructed from a single piece of hard-wearing thermoplastic, the Lyre provides superior acoustic suspension to traditional elastic solutions, and won't wear out, sag, snap, or require any rethreading to maintain its effectiveness.

No Battery Needed
The VideoMic Go does not require batteries for operation, but instead uses the plug-in power supplied via your camera's 3.5mm microphone input. Simply plug in, and you're ready to record.

• Foam windshield
• Integrated shoe mount with 3/8" thread
• 3.5mm TRS mini-jack audio output connection
• $99 price

Available at:

• http://www.bhphotovideo.com/c/product/1012003-REG/rode_videomic_go_videomic_go_on_camera_shotgun.html

BMC388 is made mostly for Black Magic cameras. Difference with previous models is that it has balanced outputs.

Otherwise it is same 3 XLR inputs, support for phantom power, not really good (as it is few only) leds used for levels.

And quite big $429 price (something about $300-350 margin here I guess).

http://juicedlink.com/collections/preamp-selection