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Theoretically you can use all of them if you use an active RF distro. Check out BSRF or PSC’s RF distribution units

@@nicolasfieldsoundservices thank you.

Thanks so much!

Thanks! It’s a fun little synth for sure :)

@@Timmyaguilar hahah. this video MIGHT be a bit soft

@@nicolasfieldsoundservices hahaha

@@nickhuston4510 thanks Nick! Cheers!

Happy to help! Cheers 🍻

Not entirely sure on this… but I think I remember getting slides by programming longer note lengths between notes? Sorry for the less than authoritative answer!

@@nicolasfieldsoundservices Thanks!

Thanks so much for this comment! Yes production sound is often more about the archer than the arrows ;). How amazing to have gotten to spend some time with an Oscar award winning sound team! That is super valuable. I’ve seen a video of him explaining his rig and I appreciated that he had crafted a pretty unique setup (multiple bit bucket recorders and an analog board) -I wonder if he’s still rocking that in 2024? Glad you found this channel, you’re always welcome here and let me know if there’s any topics you’d like me to explore! Cheers!

haha same. pretty hard to improve on perfection!

hey, definitely a big improvement with the YAXI pads! They’re much, much comfier. still holding up pretty good too!

Cheers!

Hey! Here’s the deal. The PHA60 approach has some pros and cons. Pros: utilizes existing transmitters, relatively inexpensive Cons: Awkward/clunky, doesn’t mount securely near the microphone end of pole (I added a rubber shim to help secure it), cabling is annoying and pricey. It’s really not the type of cable we tend to carry so you have to invest in backups. If a WTB60 is released I would definitely go for that over this solution. this is a good interim solution that I will still keep in my package as a backup when the new boom transmitter is eventually released. I think HMA style boom transmitters are a lot more elegant, easier to deploy and a bit more safe (fewer cables in the mix). FWIW I think a cool approach might be MTP61 and an Ambient phantom adapter.

@@nicolasfieldsoundservices thanks so much for such a detailed response! I appreciate it! This all lines up with what I’ve been feeling about it. Been doing a lot of research to upgrade out of my Sennheiser kit. Narrowed it down to Wisycom MCR54 and MTP61/60 or A20 with A20/minis. I really think I’m leaning towards Wisycom for a number of reasons; transmitter battery time being a very big one. I do a lot of one man band run and gun stuff. With a little narrative thrown in. If you had to do it all over again, do you think you’d still go Wisycom?

Happy to help! Yeah I am super happy with the investment into Wisycom and will definitely be adding some more channels of symphony wireless eventually. The A20s are quite amazing too, I’m sure you’d be happy either way. I honestly went for wisy because the price to performance ratio was unbeatable

@@nicolasfieldsoundservices thanks for the reply! There doesn’t seem to be a “wrong” choice in the top brands. I’m definitely suffering from analysis paralysis, haha. I’ll make a choice at some point. Keep up all the great content! 👍🏻😃

Thanks! I understand completely haha. Hope you have a busy summer!

Glad it was helpful!

Hey hey. The automation is recorded automatically by Ableton! Been a while since I made this video but basically…set up overbridge and it should work :)

@@nicolasfieldsoundservices wow 🤩. I just tried this with syntakt and it does indeed work. This saves me a lot of headache as far as trying to get smooth automation in a track

Sweet!! Super happy it worked out for ya! Cheers

The bag is made by Protogear out of Montreal, Canada! Tell them Nicolas Field sent you ;)

@@nicolasfieldsoundservices thank you! Is yours a custom bag by them?

@@peruperu-jj8zs happy to help! Nah mine is just the standard M Sound Bag with some additional modules. It’s not really designed to fit anything beyond the mixer/recorder so it’s a bit stretched to the brim at the moment.

AFAIK it would work but it would add a significant amount of bandwidth to your system. I definitely would stress test switches in advance of any high channel count projects to make sure it is solid.

Glad to hear that! Have a good shoot

hey! I will make a video covering this soon :)

Thanks! I picked up mine from Audioroot. You can cut them to the right size. They’re much less expensive than the lectrosonics jointed SMA antennas as well :)

@@nicolasfieldsoundservices I just picked some up from my local sound shop, thanks!

Hey hey! Bag is designed and made by Protogear! Based out of Montreal, Canada. Cheers

Hey hey! Yup I am using the BPA54 backplate. Actually I believe it’s TA5 to 2x TA3. Standard mic cable works for transmitting AES for short runs like this, I’ve been happy with it so far. Remote audio sells some right angle TA5 cables if you’re going to shove it in a bag, helps a lot with strain relief!

@@nicolasfieldsoundservices Yes, my bad. TA5. Thanks so much. This is very helpful! Cheers! 😃

No prob, don’t be shy if you have more questions!

The best!

Thanks for the comment m! Yeah fair, if it works it works. Every workflow is unique for sure and I know some productions specifically request no mix track these days. I have a friend who only submits discreet ISOs (separate mono wavs) because he encountered too many editors who didn’t know how to open a poly wav file lol! It’s definitely not always straightforward out there. I guess in this video I should have added that including a sound report is helpful for everyone.

Waiting for the exact model reply! 🤓

Protogear is known for their custom bags@@danislug so you may be waiting a while! LOL They are fabulous - you tell them what you will be carrying in your bag and they'll do a scale mock-up and go through design revisions with you till it's perfect. Then you get your perfect custom bag a few weeks later.

Yep! It’s just their standard M sound bag with a few modules. I cover it in a bit more detail in another video (My Production Sound Bag). Cheers!

lol ya I think I picked it up by osmosis. but I remember being really confused by this when I first got my 633.

@@nicolasfieldsoundservices until it's in your hand and being used do you get to understand it fully by muscle memory.

do it!

Great to hear! Glad you found it useful :)

The MCR54 Is a slot in receiver that can be set up with different backplates. These backplates screw in to the bottom to enable different connection. You would need to order the BPA54 (I think it’s called) which has two TA5 outputs and Hirose power input. Each of the TA5 outputs two analog or four AES channels. So in your case, you would need two TA5F>dual XLR cables to input four channels via the XLR inputs on the Zoom. I will add that there is an additional “top feed” TA5 on the face of the unit that can be used as well, but you still need a backplate just to get it powered on.

@@nicolasfieldsoundservices thank you for the quick response! only about a year into my sound mixing journey. can’t wait to keep learning more from your videos

Awesome. Thanks for watching!

Yep!

Some info from drolez.com for ya: One of the most useful thing is to change the MIDI channel of your Volca FM. Note that this trick works with all Volcas, Volca Drum, Volca Drum, Volca Samples etc. To do so: While holding down the MEMORY button, turn your Volca on Keyboard buttons 1 to 16 correspond to the MIDI channels 1 to 16. Press thebnbutton to set the desired channel, and the LED below the keyboard button will light up.

Check out Protogear out of Montreal, Canada.

Sum the mix to mono ;). why does the director need a stereo feed to begin with? Where I’m at it’s a very unconventional request. To answer your question you would need to assign your stereo L and R to two different outputs on your recorder/mixer and use a Sennheiser stereo IEM transmitter and receiver.

Thanks :) Check out my video “Elektron Digitakt: 2 Ways To Load Samples”

Most often we sync to a Time Of Day clock. So the numbers correspond, more or less to the time of day. A Master Clock must be employed for any time code system to work, I usually use my Sound Devices 833 mixer (set to Time Of Day) as Master and sync the slate and timecode boxes from that.

You're very welcome!

Do you mean MTP30 and MTP40?

@@nicolasfieldsoundservices yeah sorry 😂 mtp30 & 40s

@@FamousJames not sure, I think the mtp40s is newer and would therefore have some enhanced features. if the mtp40s-UN then it has enhanced ultrasonic protection... these older units occasionally suffer interference from ultrasonic signals in certain environments

@@nicolasfieldsoundservices ok. I wonder about my RX MCR42 because it’s enr so I wonder if it’s too old and should sell before too late with the way things are going.

I wish I knew friend, I wish I knew

Thank you! Glad you enjoyed

Sweet. Ya that’s a good idea! 👍

Thanks! It’s a good solution for folks without soldering experience. I am working on my soldering skills this year 😎. Sounds like a cool build, wish we could share pics in UA-cam comments I’d like to see everyone’s setups

Awesome :) Thanks for watching!

Dope! It’s a fun project for sure 👍

Thanks for watching!

You’re so welcome!! I really appreciate the comment, makes my day :)

Another benefit of this is that anyone can also hear the synced audio while playback is going from camera

Smart! Thanks for the insight into your workflow!

They’re pretty straightforward. Broadcast Mix is a recordable bus of my LR Automix with noise reduction applied, which I use for quick turnaround stuff without much audio post production (sports etc). Comtek mix is my mix with Stop Mute for commercials. Camera Hop is just my mix. Private line is usually the boom feed and coms channel with notification bell routed to the channel so me or my team can hear recording stop/start. Hope that helps.

@@nicolasfieldsoundservices great that helps! Thanks a lot…