Lectrosonics SMQV: First Impressions

October 3, 2009 – 12:16 pm

SMQV-2-004_webLectrosonics SMQV: First Impressions

Super Miniature Quarter-Watt Variable Transmitter
Street Price: $1325.00

I’ve been using SMD/a style transmitters from Lectro for a while now and have found them to be a very valuable tool in my sound arsenal. While they aren’t as small as the SMa’s, but they do offer a better balance of size and battery life for the type of jobs I tend to do.

Enter the SMQV

The SMQV is Lectro’s latest offering. A variable power transmitter that is in the same form factor (and in fact replaces) the SMDa, SMQa (as well as replacing the UM450).

Now, most people are now familiar with the SM line of features, so I’m going to point out what is new in this transmitter. I will say that the SMQV performs just like the SMa series except for the following differences:

  1. Variable Power: this transmitter can switch to various output levels. The standard being 100mw, the full output at 250mw and the smallest level at 50mw.

    While in 250mw mode, the battery is of course drained much quicker. I’m told you’ll get about a 40+% boost in range along with a much stronger ability to punch through other competing frequencies.

    It is important to note that in 50mw, there is no power savings over the 100mw output due to internal circuitry but is offered for those who wish to use that output level.

  2. Removable Antenna: Now sports a standard SM Antenna (UM style).

  3. Auto-on feature: A long requested feature of mine which helps cut down a few seconds of battery change time in the field, the SMQV’s BIOS remembers it’s “on-state”. When a battery is removed while powered on, the unit automatically turns back on when new batteries are put into the unit (similar to the changing batteries on a UM style unit).

  4. SMKIT-TA5: The SMQV ships with a kit for wiring most lavs to the SMa servo bias wiring. It comes with a TA5F, back strain relief, a rubber dust boot, some resistors and an instruction booklet for those of you savvy enough to do your own wiring.

All in all, I really like the new SMQV. While I like the option of variable power settings, in reality, I bet I’ll keep it at 100mw 99% of the time, but it’s nice to know it’s there when I do need it. My favorite features are the auto-on and the removable antenna. I know that will come in handy more often.

Good job Lectro!

For more information visit http://www.lectrosonics.com/hybrid/sm/sm.htm


First Look at a Lectrosonics SR/5P to SRa/5P conversion and the SR Battery Sled

January 21, 2009 – 9:53 pm

Yesterday,  Lectrosonics sent me back  the very first  SR/5P converted into a (*mostly) SRa /5P.

(*I say mostly because there is one more modification coming; the external 5P connector (a.k.a “wart”) will be moved from the right side to the left so that it doesn’t interfere with Camera operators who shoot from the hip. The machining for that mod is still a few weeks or so out.)

As you can see, the SR-SRa revision took the fixed antennas and swapped them out for the SMA style antennas we see on the UM style transmitters. This is being done for two reasons: first, some users wished that the antennas were shipping out 100% upright or had concerns that the fixed antennas could be bent and not easily replaced.  Secondly, word is that a future “Six Pack” is in the works that can be developed for the SR platform that will allow the antennas to be hooked to an external antenna array and effectively creating a 12 channel box.

As a side note, I also received a beta version of the SR Battery Sled.  The sled allows you to mount a Sony Lithium Ion (L or M style) rechargeable battery onto the SR.  The sled isn’t just a clip on unit, but also takes the place of the external bottom adapter plate. There is a minor bit of finishing work to be done on the sled, but at first look this accessory seems very impressive and useful for cameras that don’t offer external power.

The clips hold the battery in place very tightly and allow for quick and easy battery changes. It also works well in concert with the SR Sleeve mount for mounting to the bottom of camera’s tripod plate mount.

Pricing information and availability will be coming to me shortly for both of these modifications and I will post the information as I receive it from Lectrosonics.

Special thanks to Larry F and Mike S at Lectrosonics for getting me and everyone else a sneak peak!

sra-025.jpgsra-026.jpgsra-029.jpgsra-031.jpg

sra-037.jpgsra-039.jpgsra-041.jpgsra-042.jpg


Sanken COS-11 Vampire Clip from Pro-sound.com

December 24, 2008 – 12:54 pm

I recently got the latest version of the COS-11 vampire clip (competing product to the Vclip).

Pro0

It is VERY similiar to the Vclip, with three important differences:

1) The rubber tube that holds the mic capsule is less stiff and more rubbery than the Vclip.  This allows the capsule to be held securely yet allow enough flexibility to be removed with ease.

2) The rubber tube is also shorter, allowing a windscreen to be placed on the mic.

3) The Vclip retails for $20.99 while the Pro-Sound version is $5 less at $14.99.

I haven’t had time to test it in the field yet, but it does seem to solve my two major issues with the Vclip.

More to come….

-Chris

P.S. If you read my ***review of the VClip***, you’ll remember I had to use my teeth to get the darn thing off my Sanken COS-11! You’ll see the damage to the clip below.

Vclip vs. Pro-Sound Clip


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Ultrasone Pro 750 Headphones Review

December 17, 2008 – 9:33 pm

The Ultrasone Pro 750 Headphones feature a closed-back and stiff titanium-plated drivers.  They are also very comfortable and designed with elements that are easy replaceable.  In using them for the past year, I have found them to be a good set of cans. However, that being said, I’ve also had some issues with them.

I bought them for $399, but if you look around you can find them at a better price.

Ultrasone Pro 750 Headphones

Ultrasone Pro 750 Headphones

1) Sound – First off, because out-of-the-box the cans sound very “tinny”, it is very important to season these headphones  for a few days by attaching them to your stereo and playing music with a large frequency range (i.e. classical).  Personally, I feel the seasoning should have been done at the factory, and when I asked Ultrasone why they don’t I didn’t get a great answer.

Sound wise, I find them very easy to work with.  However, I do think they tend to be more mid-range heavy when compared to other professional headphones.

2) Comfort – One thing I REALLY like about these headphones is how they fit. The earpads wrap AROUND my ears and feel great, even with glasses on. They also are great if you like to boom on top of your head. The pad at the underside top takes alot of pressure off your noggin’.

3) Design – They are designed to fold-up similarly to the Sony MDR-7506s. They feature quick removable headphone pads and a screw on cable that you can switch out between a coiled or straight cable. The cable features a 1/8″ adapter on the headphones end and a 1/4″ jack on the other side.

The Pro 750′s also have a feature called “S-Logic Natural Surround Sound”, which is fancy talk for “the driver is placed to the front of the cans rather than the center”. They do this so the sound appears to come from in front of you rather than the sides and funnels down your ear canal easier. The idea is that it takes less dB to sound as loud, thereby creating less ear fatigue at the end of the day.

Another small, but well thought out feature is the placement of the cable attachment to the headphones.  It’s on the left side, like all other headphones, but the pushed it about 20 degrees to the rear. The effect is that the cable goes back and around, avoiding brushing your neck or chin.

They are designed to have a larger range of rotation in the headphone cups. This is nice to pull them aside from your ear to listen with your bare ears to a sound. I have found them to be slightly creaky when initiating this action. Of course, it sounds louder in your ear than it will on set though!

3) Durability - Hearing from other mixers, the Ultrasone’s were prone to some cracking on the headphone band. I think this has been fixed in the newer version as I have not had that problem. I do notice some small stress marks in the plastic, but nothing serious to me. I’d say they are holding up well.

4) Accessories – The 750′s ship in a nice fold-out hard carry case that also houses an alternate cable (comes with a coiled and straight), two spare ear pads and a 1/4″ to 1/8″ adapter.

5)  Obligatory List of Manufacturer Features:

  • S-Logic Natural Surround Sound
  • Dynamic principle Frequency range: 8-35,000 Hz
  • Impedance 40 Ohms
  • Sound pressure level: 94 dB
  • MU Metal bufferboard, reduced field emissions in accordance with ULE (=Ultra Low Emission) standard
  • Driver: 40mm titanium-plated
  • Weight: 295g (without cord)
  • Long-term availability of spare parts

Conclusion:

I like them very much, but I wish the frequency response in the upper and lower were stronger and the issue with the creakiness in the plastic connection would be resolved. I also think they should come seasoned from the factory. However, they have some strong features and I am still using them as my primary cans for now with Sony’s MDR-7506′s as my back up.


Sanken COS-11 Vampire Clip / VClip

December 15, 2008 – 11:05 am

I got my VClip for about $20.00.  (I bought it from Pro-sound.com, even though they are working on competing version in it’s second iteration). (http://www.lavmicclip.com/)

I noticed right away that it looked like the back half of a Countryman B6′s vampire clip (which I have always thought of as less solid than the tram clips) glued to a tube of rubber.

I went ahead and put my COS-11 in it. I saw that the length of the tube did NOT allow for a windscreen to be attached without the tube being trimmed.

When I tried to remove the VClip from the mic…. I couldn’t get it off.  I took twenty minutes to try and massage it, gently tug it, twist it, wiggle it… nothing.

I finally ended up using my teeth to working my way up and down the tubing to stretch it and FINALLY got my mic back.

I decided it was then time to properly file the VClip into it’s proper location: the garbage.

I would NOT recommend this product until a serious update is made.
That being said, I’m looking forward to Pro-Sound.com’s 2nd version release. I’ll review that when it comes out.

****Update: See the Pro-sound vs. Vclip here***

-Chris


Lectrosonics SR/5P Receiver – A Second Look After The Updates

July 1, 2008 – 12:19 pm

Lectrosonics SR/5P Receiver – A Second Look After The Updates

Last week I received the updated SR/5P. The unit had two internal and one external hardware change and numerous updates to the operating system.

Hardware Upgrades

The first improvements were for two bugs. The first corrected the unit’s diversity and the second fixed the second channel’s battery display. One IMPORTANT note: Lectro tells me that because of the way the SR is designed, it is better to have the first channel be a LOWER frequency than the second channel for performance reasons.

The obvious hardware upgrade is the 5P (external 5pin adapter) which allows the unit to work on cameras that have a slot, but only have a single channel activated. Basically, you attach an external TA5F cable that splits into to XLR connectors and attaches to the rear XLR inputs on the camera. While we all wish it worked in the slot, this is a good fix until the camera manufacturers get up to speed. I do HIGHLY recommend you get a backup cable with your 5P as it would difficult to get a replacement on-the-fly.

Also, as per my request, Lectro got me some Phillips head screws to swap out for the flat heads in my adapter plates.

BIOS Updates

New Backlight Menu

This is an update I’m very pleased with. Holding down the power and up button allows you to access the backlight menu. You can choose from having it “always on”, “always
off”, a “30 second timeout”, or a “5 minute timeout.”

New External Voltage Monitor

While in operation, hitting the power button shows the external battery voltage. This is nice, but I’d like to see it read the transmitter voltages in the future. Lectro says they’d like to do this, but there isn’t room in the processor memory to accommodate this.

RF Metering

Lectro has updated the display of the RF meters to respond more like a 411.

IN THE FIELD

I haven’t had a chance to run all my tests yet. This week I’ve been working with BetacamSPs and have only been able to use the external adapter hanging off the side of a camera.

With the limited tests, I must say that the improvements to the unit seem to be rock solid. I’m getting much better range and reception out of the unit and much less touch sensitivity than I had experienced, previous to the updates.

CONCLUSION

I like it. A lot.

In fact, I just ordered two more SR/5Ps to use on a reality shoot that I will be on for about four months where I will be feeding three Panasonic HDX900s (in the slot, with 5P cables). That should be a great test of the durability of the units and how they operate in a high use situation.


SR Reciever – First Impressions

May 27, 2008 – 7:19 am

The SR Receiver is the much anticipated new Dual Channel Slot Receiver from Lectrosonics. The unit is based on the front end of the Lectro 401. It is designed to fit into larger cameras such that offer a wireless slot (such as the Pan SDX-900) offering a clean, balanced and lightweight solution to large wireless units hanging off the side of the cameras.

I bought my SR Receiver on Block 21 from Professional Sound Corp in NYC for $1890 with the external adapter. I also opted for the SRUNI Panasonic adapter for $122. I also bought cables and backup cables for the external adapter (4 TA3s to XLR, 2 Camera Power Cables & 2 BDS Cables). They also offer a Sony adapter and a hardwired adapter for bag use.

When I first took it out of the box, I couldn’t believe how light and small it was compared to my 411a’s.

External Camera Hop Use

My first experience with the SR was on BetacamSP in a saddlebag (that normally carries my 2 411a’s): All seemed well, and I was excited to be using it. While I wasn’t listening in, however, my cam op was. He told me that he loved not being weighted down and twisted to the right by the weight of the two 411s in a BEC box off the side of the camera. His first question to me was, “Why haven’t you done this sooner!?”

In a Bag

My next experience was using it in a bag alongside three 411a’s. Another mixer and I had coordinated 10 active freqs with 10 spares using the IAS coordination program and we were shooting in the middle-of-nowhere Georgia. I did notice right away that the 411s had a much greater signal strength than the SR. As the unit is built similarly to a 401, this was not a big surprise,but I was surprised to see how much of a difference. While my 411s were solid, I was getting hits on the SR.

Now, it may just be my SR, but it seems to have some issues. For one, the battery indicator always showed that channel two was low. Even when I changed both channels to be on the same frequency, the second channel was low and often would fluctuate to blinking status and back. I also noticed that the SR was RF touch sensitive and when I would put my fingers on or around the unit, the RF signal strength would go up or down, while the 411s were rock solid. (In talks with Lectrosonics, they have requested that I send my unit back for testing, so take some of my technical problems into consideration as I MAY have a faulty unit.)

Reality

My third experience was once again as a camera hop with a SDX-900 in a reality situation. I had just received the Unislot attachment for the SR and was very excited to put it to use. I HAD heard that the Sony camera slot was single channel only, but I hadn’t heard that Panasonic’s were the same way. I was saddened to find out that Panasonics with the Unislot are set up to only use a single channel in the W.L. (Wireless) setting. Lectro is in talks with Panasonic (and Sony) to change this, but as of this moment have no confirmation about future cameras or retrofitting older models.

The Fix for Cameras With Single Channel Wireless Slots:

Lectrosonics will be offering a mod version of the SR called the SR/5P near the end of June. It will feature a top mounted external connector to get around the problem of legacy wireless slot single-channel cameras and run a cable down the camera to connect with the rear channel 2 connector. It isn’t as pretty, but it will work, and that’s what counts.

Larry Fisher, President of Lectrosonics, wrote on RAMPS about this issue: “We will make only the 5 pin warted unit for factory stock for the foreseeable future and make accessory cables to go between the wart and the camera external inputs. Once the brontos change over, we will go back to the original wartless unit as standard. We can convert already purchased units of the standard SR to the warted SR for the difference in price. For anyone that feels we misled them, we’ll do it
at no charge. At the moment the whole thing is in flux and our literature and web site haven’t caught up
. ” Thanks Larry.

What if my Camera doesn’t have an accessory power outlet?

I have been told by Lectro a battery sled will be available in the next few months that will be powered by two 9Vs. This will allow the SR to be used by the prosumer cameras that don’t have an external power connector. I look forward to seeing that.

Things I like:

1) Again, the small size and light weight of the SR is incredible.

2) Two in one receiver! No brainer.

3) Easy and Intuitive menu: If you’re familiar with a 211/401/411, you’ll find it easy to use.

4) Splashproof.

5) My camera operators seem to love it. It definitely has a WOW factor.

6) Did I mention that is has two channels? =)

Things I’d Like Changed:

1) I would like to see an option for the LED backlight to stay on, like a 411, rather than having to hit a button to turn it on for when in use in an ENG bag.

2) I wish the base of the external adapter had easy to see colored plastic rings blue and red rings around the TA3 connectors, rather than the hard-to-read low contrast white paint numbers “1″ and “2″ on the aluminum base. (Lectro is considering this)

3) For those that plan on switching out the bottom adapters like I had, I feel that the REALLY TINY screws that hold the adapter in place would VERY easily be lost, especially when being changed out in the field. I’d rather see a clip release of some sort without integral parts that could be lost. (Lectro tells me they will now be including a spare screw taped to the inside of the adapter plate.)

4) For the Unislot adapter’s top bracket, I wish the screws were phillips heads rather than flathead. It’s not easy to screw them in with the included tweaker tool. BTW, the tweaker provided with the SR is now a two sided screwdriver with the addition of a phillips head at the top. (Lectro has told me that they were originally phillips, but a conflict on a new Sony HD camera didn’t allow the higher head of the phillips and they went with a flathead screw)

5) For battery life, the unit shows a battery icon, but does not have a volt meter like my 411s.

6) I wish the SR was built based on a 411a, instead of the 401, but I suppose that’ll have to wait until nanotechnology catches up and the SR2 comes out. =)

In Conclusion:

The SR is a bold offering by Lectrosonics and will most definitely change how we use wireless camera hops. I appreciate the unit for what it offers and applaud Lectrosonics for looking towards the future. I’ll be using it for much time to come.

I encourage everyone to contact their Camera Reps and plead for the addition of second channel support!

Note: Next week, I am sending my SR “back to the mothership” for a check up for my unit’s issues and to mod it to the 5P connector. I’ll let you know how it works out!

http://www.lectrosonics.com/hybrid/sr/sr.htm


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Rycote Invision Suspension INV-7: First Impressions

April 16, 2008 – 9:29 pm

inv-7I received my Invision INV-7 for testing from Rycote yesterday. It is intended as a suspension for static or boomed medium sized mics.

My impression is that the Invision series is mostly being introduced by Rycote to service the new compact mics from Sennheiser and Schoeps with some overlap into medium sized mics.

The Invision comes in 8 sizes. The first three are designated as not for boompole use, but rather for static mounts only. The others are listed as appropriate for use while booming.

I used it today for a corporate gig. It took the place of my K-Tek K-SM Mount for my Schoeps MK41 w/ Cut-1 & GVC.

lyre clipIt’s “Lyre” clip system is a directly related to the S-Series Suspension, which is quite different from the K-SM’s rubber mount system. It is light weight and has a similar profile to the K-SM. It has a retention clip at the base of the mount to secure a XLR which the K-SM lacks. Where the K-SM has a lever to lock the angle of the suspension, the INV has a smaller thumbscrew.

It has similar overall shape, but the clips on the INV-7 have a much thinner profile.

The INV does have a cable clip at the base which the K-SM lacks.

During an interview, the “fixed” INV-7 behaved the same as the K-SM. I used it on K-Tek Avalon KE-100CC with the Ambient Quick Release Adapter attached to a fish pole holder on a C-Stand.

While actively booming I did notice two important things:

1) The INV-7 did reduce the boom handling noise over the stiff rubber boots of the K-SM substantially. Good!

2) However… The AC stated it perfectly as he said, “Whoa! Wobbly boom”, referring to the looseness of the suspension’s grip on the mic. It was all over the place with my Schoeps rig.

So, my first impression is that the INV-7 suspension is a good static mic mount but it needs to be carefully handled when being used to actively boom with a mic like a fully accessorized MK-41. I think the Invision system would be better utilized with smaller/lighter mics, such as the Sennheiser 80*0 series and the Schoeps CCM mics… or used only for fixed interview situations with larger-than-compact mics.

inv-7 cmitI will give the INV-7 a shot with my lighter CMIT-5U in the coming days.

> Rycote Invision Site http://www.rycote.com/products/invision/

I see that Scott Farr had a beta test model that he used with a Sennheiser 80*0 series compact which I really think is more up this products alley. (Scott, they’ve added the thumbscrew since your beta.)

> Scott’s Invision Page: http://web.mac.com/farroutpro/Sound_Mixer/InVision.html

-Chris Durfy, ATLaudio.com


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The Rycote S-Series Review (Sept. 07)

April 16, 2008 – 7:24 pm

The Rycote S-Series Review (Sept. 07)

I recently purchased the Rycote S-Series S-330 from Trew Audio in
Nashville for $319.00. I have been using it with a Sennheiser
MKH-416. After using it for a few weeks, I’ve found there are things
I really like, and others I wish were changed.

>From the Rycote Website: (http://www.rycote.com/products/s_series/)

The S-series is a wholly new design – new suspension concept, new
materials, new windshield construction – and retains all the renowned
Rycote features of flexibility, balance and professional performance.
It is lightweight with a minimum of parts, tough enough to withstand
the rigours of ENG and simple to use straight out of the box – with the XLR cable supplied!!
naked s-series

The Upside of the S-Series

It’s accessible! It is much easier access to the mic than traditional
zeppelins, and to me this IS it’s WOW factor. You turn the pods a
slight turn on and off with no problem, yet it stays firmly in place
when it is needed. I can quickly twist a pod and get access to my mic
switches.

It’s Lightweight! It’s lighter than the my old Zeppelin.

It’s tough! The outside enclosure is strong and retains it’s shape.
The steel reinforced spine and beefy plastic chassis ring are well
built. The ends are no longer made of the (dentable) mesh and are now
foam and fur only.

It’s all-in-one! Like the Softie, it’s all in one piece, with no sock
or furry to lug around.

It’s modular! You can buy different pods for different mics and you
don’t have to replace clips for most mics as they are one-size-fits-
most. Even the suspension clips are modular, which means no replacing
rubber bands!

New Handle! Overall, I like the new handle. It’s lighter. It’s got
rubber grippies. It holds the XLR connector much better than previous
designs. There are two issues I have with it, see below!

The Downside of the S-Series

Balance Balance Balance! My biggest beef with the S Series was
balance. I placed my 416 in, stuck it on my pole and quicker than I
could extend/lock it… the S-330 swiveled the top 180 degrees
pointing up. Out of the box, this enclosure was not happy.

After many emails back and forth with Rycote Techs (who I must say,
have been VERY helpful and customer service has been top notch!) they
talked me a modification I could do of sliding the spine back. One
side effect of this change results in one of the cable isolator clips
not quite clipping in 100%.

To get the system to be more front heavy, I had to go one step further
and remove the handle and turn it around to further balance the
system. The odd thing, is in past models, the handles WERE in the
position that I’ve modded it to. The result… a balanced windscreen
system.

NOTE: With in one week of sending my concerns to Rycote, I have been
informed that they are planning a redesign of the pods to further it’s
balance. A longer front pod and smaller rear pods are being created
to allow a more front loaded design. This will also give more rear
clearance in tight situations with shorter ceilings and such.

Indoors. One thing I liked about the Zeppelins was being able to
remove the enclosure, or just the front and putting a foam windscreen
directly on the mic for use indoors. With the S-series, there is not
enough space between the mic and the spine without rubbing to occur.
This is okay for interviews, but not for run-and-gun.

The Other Bits

Grip Handle – While overall, I like the handle, I wish the connector
near the top the hold the XLR with two rubbers “V’s” more firmly held
the XLR cable in place. I have resorted to a piece of Velcro wrapped
around the handle to secure it in place. (As noted above, I had to
spin the handle around for balance reasons.)

Handling Noise – This was tricky. It takes sometime to get the mic
properly placed so that it doesn’t hit the foams bits at the front and
back of the enclosure. Once positioned, it works fairly well and
handling noise is minimal.

Wind Noise – I haven’t been in any strong wind situations yet, and
will update this with more detailed experiences. So far, in light wind
it has done fine. I have seen some other peoples comments that it does
not perform well in strong wind compared to a traditional Zeppelin.

Click! – I think a great idea would be for the pods to click together
to attach to each other when not in use to set aside for int or for
storage.

Customer Service – Rycote’s Owner called me personally to thanks me
for my feedback, and to let me know they will be sending me a revised
S-Series at no cost. Kudos! I will re-review when it arrives.

Overall

I must admit, before my modifications, I was going to return the
system and purchase a new Softie. Since working through the
modifications, I am much happier with the system. The overall design
is a great idea and I bet over the next year or so we’ll see some
changes to it that will vastly improve some of the problems I’ve had
with it. I’m keeping it.

Chris Durfy, ATLaudio.com
http://www.chrisdurfy.com

UPDATE:

I have received the new updated S-300 from Rycote. They have changed
the identical 6″ pods on the front and rear to a longer front pod (7″)
and a smaller rear pod 5″.

There are three benefits that I have noticed with this update:

1) Balance – as it is more front loaded it is better balanced

2) Frontal Awareness – Something I missed writing about in my last
review, with such similar front and back sizes, I often had to double
check the way the mic was facing to be sure. This is much easier to
see now with the 2″ size difference between pods, although the S-330
has only a 1″ difference you may have to do a double take to be sure of
the direction. I think it would be wise for Rycote to switch the size
from 7″/6″ to 8″/5″.

3) Ceiling Clearance – It is simply easier to navigate those tight
space with less in the rear end.

Fitting Your Mic in the S-Series-

An added note, since my previous post, I’ve updated my shotgun to the
Schoeps CMIT 5U.
The Schoeps fit perfectly in the windscreen. To get that perfect fit,
I pushed on the front lip of the pod and mentally mark where the foam
starts on the end and then eye it with where the mic end should be by
placed. Then repeat with the rear. As a final test, plug it in and
shake it to listen for a scratching sound of the mic or rear cable
hitting the foam. If you are getting that noise, remove one pod at
time and do the shake test to determine if you need to move your mic
back or forwards.

I’ve been using the S-Series as my standard Run and Gun for two months
now and I’m sticking with it.

-Chris


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