Wednesday, March 8, 2017

Went on Vacation and Forgot a Camera... Again

Part 3

Of course I didn't forget a camera, I just decided recording audio ambiences / soundscapes can be more effective than a photo, der! I look at a photo and I see what that place looks like. They say one photo can say a million words. But if that photo were not taken, rather, the sound of that moment was recorded, I hear it and I FEEL the moment; it seems so much more real and intimate. The information is in the visuals but the EMOTIONS are in the sound.

The past 5 months I've been doing some traveling and posting some of my ambiences in previous posts. Before I found time to put together my Fort Worth and Dallas Soundscapes, I took an impromptu quick trip to North Carolina to hike the Appalachian Trail. We drove out to Tennessee to Roan Mountain, pitched our tent and woke up in freezing January weather 5,400 feet above sea level. We then went out for an all day hike to the top of the mountain where I recorded a few ambiences on the way. The sound was so silent with the exception of some water dripping from the tall tree branches, and a stream running down the river. There was such little low frequency rumble our ears are so used to down closer to sea level in civilization. There was almost zero wildlife up there as well, although twice I heard a crow, but unfortunately I was never able to capture their sound. The hike took us from Tennessee, to High Knob Creek, North Carolina (6,394 feet high on the border), back to Tennessee, then drove down to Asheville, NC for some food, drinks and rest. That city was not as I expected, but in a good way. We had met a hiker by our camping area who suggested we visited Asheville. From the sounds of it, I thought it'd be like Pittsburgh, but it was actually like a southern Williamsburg, Brooklyn. Very hipster and a bit touristy but very catered to serious hikers from the Appalachian Trail. I recorded some ambiences that night and the next day before heading out. They are pretty similar to my Texas soundscapes but it was difficult to avoid the street performers and live music bars in both states.

The following month in February, I decided to take another impromptu trip up to Lake Placid, NY to enjoy the final weeks of Winter. I've never gone skiing or snowboarding but figured, when in Rome. So I took a gondola ride up to the tallest mountain in New York and recorded some ambiences. This was about 1,500 feet lower than Roan Mountain in Tennessee, looking and sounding very different; snow capped mountain with plenty of skiers and tons of strong strong wind. It was very difficult for me to find a way to get away and block the wind without having any kind of wind protection for my microphones, so next time, I'll create a mini windshield from Bumblebee fur to place over my small microphones from my phone. I usually use pieces of this fur for lavaliere mics.

Yes, I used a phone on this trip because in my experiences it has been recording much better quality and much more reliable sound than the Zoom recorder and it was not practical or worth to bring my Sound Devices 664 and/or Sennheiser microphones. I use a free app for my Samsung S7 called "Audio Recorder" which after trying many audio recording apps this seemed to be the best to use in terms of usability, design and quality recordings; albeit still not in the league of using professional gear. I mostly used the Zoom recorder on my Texas and North Carolina trips as you can see above, but I left it at home for the Lake Placid trip to save me trouble. Many of my previous Zoom recordings were useless. I have since tested the effectiveness of the fur vs no fur and it does make a big difference; I'll just have to test it out in the field next to see if it stop the big gusts of wind I'm trying to record.

While in Lake Placid, I considered recording sounds of the Olympic Village but I honestly thought it lacked personality. It did not sound different than any other town center of its size, probably because it was so touristy. I decided to keep my ambiences to the mountains and the Log Cabin in which I was staying. When in Lake Placid, we had to experience the mountain town right by booking a classic log cabin in the middle of the woods in the boondocks off of AirBnB. We got the fire going, made some drinks, played some music and games; it was a perfect getaway from the city. And of course the sound of this cabin was highlighted by the snap crackle and pop of the fire from the fireplace. I hope it doesn't come off as cliche but it really describes Lake Placid as a ski town; very relaxing, calm but alive; it's warm when you're cold.

These ambiences will continue as I continue impromptu trips like these and in the meantime, hopefully I'll find the time to put together my sounds for Dallas, Fort Worth and Sao Paolo, Brazil.

Monday, November 14, 2016

Can You Hear Me Now? Headphone Isolation Battle

Give Verizon money. The end. Actually, as sound professionals, we often put so much care and attention into best miking techniques, wireless solutions, etc, in order to get the best sound possible, and we make these decisions primarily based on what we hear. But what we often overlook is the integrity of what we actually hear and what we're NOT hearing.

Sony MDR 7506
This isn't a full on debate on which pair of cans is best, I'll try to keep this one simple. However, an industry standard pair of headphones or "cans" are the Sony MDR 7506's due to their accurate reproduction of sound, comfort, portability and cost. I've been using these for years but every month or so I'll have at least 1 job where I am recording sound in a very loud environment. I know I have great microphones that are placed very well but with the Sony's, I sometimes find it difficult to tell if what I'm hearing in my ears is actually coming in from the headphones / microphone or if it's just bleed coming THROUGH the headphones, rather than actually being picked up by the microphone. In other words, it's sometimes difficult to know whether or not I should worry about a certain ambient or other background sound. The Sony's have never been known for their isolation and I was recently able to get my hands on a pair of Audio Technica M70x headphones courtesy of Headliner Magazine. The ATH M50 and M70 series headphones from Audio Technica are known for their great isolation, so I did a side by side comparison between the Sony MDR 7506 and the ATH M70x purely to compare their isolation effectiveness.

Audio Technica M70x
I recorded my voice in a quiet room with a DPA 4061. I then placed a DPA 4061 in the earphones of a Sony MDR7506 and another in an Audio Technica M70x as well and closed the headphones on a bicycle seat to simulate my head (Yes, I figured my head is basically the same as a bicycle seat, or at least a few kids in 6th grade thought it was the same). I then started blasting some music right next to the 2 pairs of miked headphones while playing back the clean voice recording from earlier through a computer and into the headphones. So in this test, the microphone recording the voice is picking up 0% of the music, however, we still hear the music bleeding through our headphones. When you listen to this recording below, you will find a clear winner between the two in terms of isolation. Whether the winner is good enough for you in the setting of a live concert for example, is up to you. I wish I could compare more cans, but for now, this is it.

If you don't feel like listening for 1 minute, the winner was clearly the ATH M70x in the right ear. I've heard it's not the most comfortable pair of headphones to wear all day, as opposed to the Sonys, but wearing them for about 15 minutes (for what it's worth), they felt more comfortable than the Sony MDR 7506s and they also reproduce a wider frequency response (5Hz-40kHz) as opposed to the Sony MDR 7506s (20Hz-20kHz) which will help me use my low cut filters more effectively. With cans that give me better isolation, I'll be able to more confidently tell a Director or AD, "Nope, we're fine! I don't hear it, lets move on!" Our ears are our brains, our eyes, our frontline. Lets not compromise on what's telling us what to do.

Monday, October 31, 2016

Lectrosonics SRb vs SRc vs UCR411a Battle Royale

(Left to Right) SRb, SRc, UCR411a
Lectrosonics has a wide range of state of the art wireless units (pun intended) and I figured I'd A/B/C compare two of their most popular receivers, the SRb and UCR411a with the newer SRc. The Lectrosonics SRb is a great dual channel receiver, much improved from the SRa but is still lacking the front end filter that makes the UCR411a such a beast. The 411a has been considered the top of the line wireless receiver for some years and the biggest most demanding reality TV shows haven filled their audio bags with tons of these monsters; and when I say "tons" I mean in terms of weight. I weighed my bag from a show and it was slightly over 1 metric ton, I believe, largely due in part from the weight of the 411a's ;)

For some time, you either had to choose between the convenience of the slightly smaller (About double the efficiency) SR series or the reliability of the UCR411a. In 2016, Lectrosonics has released a newer version of the SR series, the SRc, which also features the front end filter that makes the 411a so great and add on the fact that the SRc is also wideband (about 76 mHz tuning range or 3 blocks).

Lectrosonics SRc
"The combination of the wide tuning range and tracking filters makes these products ideal for today's challenging RF environment, while the convenience features like SmartTune and the IR port make it really quick to get up and running. It's really a lot of technology in a very small package.”
Karl Winkler, Vice President of Sales/Service for Lectrosonics

I currently own each of the 3 so I decided to A/B/C compare them at my home in Brooklyn, NY. Below is the recording. You can download this, however, it will only be a 2 track stereo mix down. In this recording, the SRb is panned LEFT, the SRc is panned RIGHT and the UCR411a is center panned.

I did not notice huge differences between the 3 units. The SRc and UCR411a did seem to consistently produce a slightly cleaner signal than the SRb though. It's hard for me to say the SRc was better than the 411a, especially since it is my understanding that they should perform the same, but the worst RF hit came on the 411a and during the worst RF moment of this recording, the SRc seemed noticeably cleaner than the other 2 receivers, albeit, not perfect.

Technically speaking, the UCR411a still should outperform the SRc as it "still has a narrower front-end passband (11 MHz) vs. 20 MHz in the SRc and the 411A has a higher IP3 of +8 dBM while it is 0 dBM for the SRc. So no, I wouldn't say the 411A is obsolete, other than in size and weight." ~ Karl Winkler, Lectrosonics

Make your own judgements, but in my limited time using the SRc WITH the SRb and UCR411a, I am not worried about the wider front-end passband in the SRc especially since it's wideband and being able to find a clear open frequency is much more important than powering through a busy frequency.

Sunday, October 23, 2016

Went on Vacation and Forgot a Camera; No Problem! Soundscape Album

I just got back from traveling Texas where I certainly took a bunch of touristy photos, but I also had an idea apart from taking photos as a tourist. I figured, as a sound engineer, we say information is in the image but emotion is in the sound and when everyone only takes photos on vacation, we see where they are but we don't feel where they are.

So, packing lightly, I decided to leave my camera behind and take a small Zoom recorder instead with me to record ambiences and sound effects while on my trip throughout Texas. I wanted to record specific sounds but on top of that I wanted to record ambiences that I felt represented the cities I visited at least as well as a good photo would. I could have gone about this very differently and next time I will, so due to some imperfect recording techniques, I am editing and combining some of my sound recordings to create the best soundscapes I can with what I have and this takes a bit of time. So for now, I am only posting one city and will continue to edit this post with the other cities I visited. I was going to have one soundscape for each city but since they all sound so differently at night than they do during the day I had to do 2 soundscapes per city. Without further ado, below, are my soundscapes for San Antonio, Texas during the day and the other during the night:

Both of these ambiences happened by chance; I did not hit record because I heard church bells, nor did I hit record because I heard a mariachi band. I got out my recorder during the day and hit record because I thought the sound of the cicadas were representative of San Antonio during the day; literally about 3 seconds later, the Church Bells started going off. It was 4pm on the dot and I was standing right next to Mission San Jose, probably the most popular missionary in San Antonio which is built around it's missionaries. The State of Texas was built around its Spanish Missionaries to help localize the native Americans. I won't go too much into the history here, but the Church Bells were a perfect coincidence.

At night, another beautiful coincide happened when I hit record. I heard a guitarist start strumming his guitar across the street, accompanied by several of his buddies. I thought "this is SO Texa," so I got my recorder out of my bag quickly and started recording; a moment later, a Mariachi band started to play across the avenue by the bridge. So I quickly walked over there to focus on them. Unfortunately, my Zoom recorder picked up much wind, so I cut as much of that as I could on my computer and replaced the low frequencies with another calmer recording I had earlier that evening of ducks quacking close by on the small man-made river that makes downtown San Antonio such as nice place for tourists.

Part 2

I also had to check out Austin, Texas. Spent 3 days there and did everything on my list, so it was difficult to include everything in my soundscapes. Austin is probably most known for 3 things: Football, Barbecue and nightlife. I did not really include any of these in my soundscapes because there was no football game when I was there, the nightlife was honestly not impressive, and the barbecue, which I may add later, was Oktoberfest themed (So German, not Texan). However, Austin's country lifestyle is very apparent even in downtown Austin and mostly just minutes away. It was such a nice suburban city with plenty of hiking trails and natural lakes. So I took a step outside and recorded the below ambiences. Plus the famous 2 million bats underneath the bridge while kayaking the Colorado River.

In the next week or two, I will add, here in this post, soundscapes for Dallas, Fort Worth, and possibly a few cities in the state of Sao Paulo, Brazil. So stay tuned!

Friday, February 26, 2016

IFBs: Is it Finally Broadcasting? ... stupid?

If you're renting generic IFBs, you're probably doing your Director, Script Supervisor and client a disservice especially in the RF busy NYC. IFBs: Interruptible Feedback, or some may call them IEMs / In Ear Monitors. They are the wireless headsets that Directors, Assistant Directors, Producers, Clients, etc. wear in order to get a personal wireless feed of the sound of the show; like a monitor for sound in order to hear what talent is saying without being in the same room. As a location Sound Mixer, I often rent these out to Production on the shoots on which I work. They're not our top priority as they don't effect our soundtrack so it's often overlooked but they do help other departments, namely production / Director and Script Supervisor do their jobs, so I'd like to dig deeper into IFB options and compare a few of the most popular IFB systems in the industry.

Comtek PR-216
What seems to be the most popular to me is Comtek, led by their 216 series, which transmits its frequency signals between 216-217MHz frequency range which is as narrow of a range as it can get. The second most popular may be Lectrosonics R1a IFB system which is often used with a T1, T4 or T4B IFB Transmitter but more often, I see it used on reality shows with a UM400a or SMQV transmitter which has more power options. Thirdly is the Sennheiser EW 300 IEM which looks very similar to the G2 or G3 receivers but with a volume knob on the top; these can be powered by a Sennheiser EW300 base station or a standard G2 or G3 transmitter or even an SMQv if you so wish.

If you ask for "IFBs", you'll likely get Comteks which are cheap, low quality sound and lack range. I own and have been using Comtek 216s for many years as they are industry standard, easy to use and robust, however, I often find myself saying to a Director, "Don't worry, it sounded fine on my end." I have not been impressed with the sound quality or range from the Comteks. Since I use Lectrosonics R1a's on most reality shows that rent gear from another house and have had fewer complaints, I decided to purchase myself an R1a. I used it on a shoot and it certainly had much better range and sound quality than a Comtek. This is important because some Directors I work with expect higher quality than Comtek and I don't blame them. This also makes it important for field producers or script supervisors to hear and take notes when they cannot be inside the room, a situation very common for Docu/Reality shoots. The sound quality is so good on this, it's better than it needs to be. However, you could say this option is a bit pricey; it's the top tier option for IFBs price-wise, but is not the only premiere option.

I've heard good things about the sound quality from the Sennheiser EW 300 IEM system, so I started looking into that. The Sennheiser EW 300 can operate on the same frequencies as R1a, so they can be integrated with those systems. It also has an antenna on the receiver unlike the R1a or Comteks, so I figured it might work as a better receiver. On the R1a, however, you can push the volume knob inwards which changes the preset frequency you are receiving which is very useful if a Producer or camera person wants to listen to a different source such as sound from Audio Bag B rather than Audio Bag A; they can easily switch back and forth. When this is not a factor, in my experiences, that button is often accidentally pushed and I often get people coming to me saying they aren't hearing anything anymore. I'm sure I could Macgyver a lock onto that but stay tuned.

Of course, all of this calls for a side by side comparison, a Battle Royale between IFBs. So a few of us sound nerds, "Fader Fire" Hayley Wagner and The "Meter Master" Allistair Johnson, got together and did what we do best; go out for a walk casually talking to ourselves. Hayley spoke through a mic hardwired into a mixer that I wore in a bag which transmitted 4 separate IFB feeds into a stationary mixer with the receivers inside. The Contestants are the Comtek m-216 going into a PR-216 receiver,  back inside, we had an older Comtek 82 transmitter going into a Comtek mrc-82 receiver (operates at 82-86 mHz), a Sennheiser G2 operating at 20mW power going into a Sennheiser EW300 IEM, and a Lectrosonics SMQV operating at 100mW power going into a Lectrosonics R1a. The results are below:

This test was done in Bushwick, Brooklyn, NY; results can vary anytime, anywhere. But it was obvious that Lectrosonics and Sennheiser far outperformed the Comteks. The 216 seemed okay at best when in the next room over or closer. The quality of sound was bad overall. The Comtek 82 got reception from quite far away but had some serious drop outs and stopped transmitting a signal for a while, but the range in this test seemed better than the 216, probably because the 82-86 range may have been more clear than the 216-217. The sound quality on the 82 wasn't bad either. The Lectrosonics and Sennheiser were a toss up; sound quality were great on both and range were both great, not perfect and had minor RF issues around the same times.

My takeaway from this was: Comtek can be acceptable if you're in the same room, maybe the room next over; anything past that, you're really rolling the dice. It's also not acceptable for musician's in ear monitors. Comtek is not recommended for reality shoots. The R1a and IEM are both great and can be used in almost any situation. Of course they cost more. But after these tests I decided to sell my R1a and invest in Sennheiser EW 300s. I like these because they are great sound quality, great range, can be integrated with the popular Lectrosonics R1as but also because that test was done at 20 mW power vs 100mW power of the Lectrosonics. That means if 20 is enough, I'm saving on batteries and if it's not enough, I can use a Lectrosonics transmitter and go 50, 100, or 250 mW power for more range. In addition, I have been using a G3 transmitter with my IEM so my power has been 30mW and I have had 0 issues or complaints after using it for a few months now.

Tuesday, August 4, 2015

MKH 50 or MK41? Beef or Chicken?

If you're trying to decide beef or chicken for your wedding, sorry, this is not the place, I have no insight for you. I lied! I lied!!!! In fact, beef and chicken are poor representations of the Sennheiser MKH 50 and the Schoeps MK41. I apologize to everyone. It's always a good sign when the header includes an apology...

Anyways, this is the battle of them all right now, it seems. Arguably, the two best and most popular hypercardioid microphones for use with dialogue on a boom pole, or a pistol grip or heck, I don't care what you do with it, frankly, it's none of my business. I personally love to use hypers for indoor talking heads, or working with improvisation; they are great microphones to use when you're sure you can get them within about 2 feet of the speaker's mouths if not closer. I won't lie, I do get pretty excited when camera gives me 10 inches. No one seems to know which mic to go with, the Sennheiser MKH 50 or the Schoeps MK41. I know plenty of people have gone with the Schoeps because, well ... it's a Schoeps, and Schoeps is Schoeps, because well... they're Schoeps. Still with me? No? Good.

The MK41 may have also won some sales due to it's small size and it's convenient swivel mount. I'll say this now, the MK41 with the CMC6 powering module costs a good chunk more than the Sennheiser MKH 50, another very popular hypercardioid microphone, in case you've never heard of it and skipped my first two terrible paragraphs. So a few of us sound nerds (Michael Moote and Allistair Johnson) got together and A/B'd the two microphones for our own secretive pleasure. The end. No podcast, no video. That is all. Good bye... Until 6 months later, I gave in. You're welcome. Below are a few of those tests. Give them a listen, see what you think, keep reading for my own opinion and experiences or don't, again, I really don't care what you do; you clicked on this page and I have already won :)

WARNING!: This will be the darkest microphone test you'll ever listen to. Sorry for the content, don't think about it all night.

It was our general consensus that despite the two microphones sounding extremely similar and great at that, that the MKH 50 was a bit more bassy, had slightly longer reach and we felt the Schoeps MK41 may have had a slightly wider pickup. Below is a comparison of the two with a TV on in the background to see how the mics dealt with background sound, particularly voices.

Again, it was tough to tell the difference, but if anything, it seemed to us as though perhaps the MK 41 had better isolation of the intended sound source but slightly more coloration of off axis sounds, however, that's really for anyone to decide; it's so close. For kicks and giggles, we also decided to compare these two mics to the Sennheiser MKH 60 to see how they'd mix with it and compare to a supercardioid. With all this political talk going on, I've ran out of opinions on things in general. So you're on your own for this one.

After performing these tests, fellow Mixer Allistair Johnson who was present with us, albeit watching Breaking Bad, decided to purchase a Sennheiser MKH 50. My stubborn keister waited maybe 4 months to add a hypercardioid to my kit but I also went with the MKH 50. Oh, look, one more opinion popped up: I find the Sennheiser MKH 50 to be THE go-to interview mic. It's great for those indoor sit-down interviews, good for b-roll ambience in or outdoors and great for tighter shots for narrative. Compared to the more direct Sennheiser MKH 416 and the Neumann kmr81i, the 50 seems to noticeably reject background sound more when placed as close as 10 inches from the mouth (standard talking head frame). I've used the 50 on 2 person interviews and in a quiet environment, it sounds ok. I would have preferred something a bit wider so I could place it closer to their mouths while staying on axis though. I also used it in a 2 person interview in the middle of a live loud restaurant and understandably, it was not a great mic for that situation (unexpected change of locations) but it did still make the voice sound good in the lively restaurant.

I used the Schoeps CMC441 recently on a documentary shoot and I really felt the 41 had less range than what I'm used to with the 50, but once in there, it does sound sweet. Also, for your reference, when purchasing a powering module for the MK 41, the CMC6 is the newer module and has improved greatly upon the CMC4 which I did experience quite a bit of RFI from it on my documentary shoot. Schoeps claims the CMC6 is stronger against interference with its "low impedance and balanced form".

BONUS BATTLE! Before we played with the MK41, we had a Wild Card round with the 50 against the less popular, more affordable Neumann KM185. You'll notice the differences between the mics more in this test than you did between the 50 and 41.

The 185 didn't sound too bad when about 1 foot from the mouths, but once we moved the mics away, it became very clear that the MKH 50 had noticeably more range making the 185 a potentially difficult mic to use in narrative or documentary; really anything but talking heads. The 50 sounded more bassy and sexier to me as the 185 sounded more natural but a bit tinny. Mr. Moote claimed it made his voice sound "nasaly" but that could just be a poor man's excuse for a nasally voice :)
I used the 185 on a shoot when I was doing some b-roll ambience and it was fine for that; it had a wide pickup pattern, sounded natural and had very little off axis coloration. However, I felt that the MKH 50 would mix better with my Neumann kmr81i than the Neumann km185 would. I have the recordings of an A/B/C comparison of the 50, 416 and Neumann kmr81i, perhaps I'll share them one day but for now, you'll have to take my word for it. If these tests don't satisfy you and you think I'm full of crap, this site has some other great samples of these mics and others as well: courtesy of Dan Brockett.

Also, to answer the other deep question half of you have; Beef, all the way, go with Beef. Some of my hungry friends and I recorded a video of us eating beef and chicken but our fat fingers couldn't seem to press the stop button and the tape rolled out or something technical. Enjoy.

Monday, July 20, 2015

Lectrosonics SRb vs UCR411a SxS test HrGA Bagalllo...3.1

Many Sound Mixers use Lectrosonics wireless systems in their audio bags on location. Many are currently using the single channel UCR411a receivers but many also use the dual channel SRb's. It's tough to say one is a "better" choice than the other or is more industry standard but we ran some side by side tests comparing the two.

Lectrosonics claims that the "SRb is very similar in range to a 411a and definitely better than an SRa. In very tough RF environments, 411a is still superior." So, a few of us Sound geeks got together in Brooklyn, NY and ran this side by side test in Block 20 using an SMQV going into an SRb and a UCR411a set to the same frequency. Below are the two tests we ran; the first being a romantic long walk down the block with the lovely Sound Mixer Allistair Johnson roughly 100 feet with line of sight. The SRb is the left track and the 411a is on the right track.

With the second test, we sent our other victim, Sound Mixer Michael Moote around the corner and across the street, risking getting hit by a bus apparently. The SRb is the left track again with the 411a on the right track.

The major differences between the Lectrosonics UCR411a and the SRb are physical and design; The SRb is dual channel as opposed to single channel, acting as two receivers in one unit; this unit is not double the size of the 411a, rather it is smaller in weight and volume. It also costs much less than the cost of 2 UCR411a's making it arguably much more efficient than the 411a, especially being in similar quality as an RF receiver. However, the difference in design and quality is highlighted by the addition of a high quality front end tracking filter on the UCR411a. 

The SR series receivers and the 401 receiver do not have a front end tracking filter. When it comes to range, it's not the receiver that gives better range, rather, the transmitter and many other factors that come into play. However, the design of the receiver will effect the capture of that signal, and how that signal is amplified, processed and sent into the mixing/recording device. The front end tracking filter of the UCR411a with its high power gain stages "produces a receiver that is unusually immune to single and multiple interfering signals close to the operating frequency and in addition strongly rejects signals that are much farther away." So in other words, the difference in quality between the SRb and the 411a should not be found in range, rather in situations where you have DC-DC power converters running physically close to your receivers and wireless transmitters in the same block also physically close to your receivers. Also, if there is a facility such as a TV station, Military base, airport, cell phone testing facility, etc., you may have more RF issues with the SRb than the UCR411a. In addition, with the FCC taking away more and more of our frequency bands from us Sound Mixers, we are being forced to run more wireless in the same block. The UCR411a would be better with this as it has added individual (12) transmission line resonators with variable capacitance to keep out the RF noise. This allows "each resonator to be individually tuned by the microprocessor for any user selected frequency in a 25 MHz band."

In our test, we had the SRb and the 411a going into a SD 633 running off of a battery distro system in the bag. Nothing else in the bag was powered on. We did have our cell phones on us and were set up next to a telephone pole on the sidewalk in residential Bedstuy Brooklyn, NY during business hours. So this may not have been the most challenging setup to test the front end tracking filter of the UCR411a but we did notice differences in the two. The 411a seemed to hold a usable signal a bit longer than the SRb. The SRb also dropped out completely at one point and seemed to have RF noise more consistently when both receivers were having major RF issues. In my own experiences owning an SRb and a few UCR411a's, I do not notice many if any quality differences in the field working primarily in NYC. They are both top of the line units and with a thoughtful design in your bag, it should not be too difficult to avoid having any hops in the same block as your body mics and to keep the battery distribution system as far as possible in the bag along with your cell phone powered off or not in the bag at all. I am currently on a show where we have SRb's in the bags with SMV transmitters for hops and IFBs. I haven't had any issues yet but the Sound Supervisor told me he lost signals from the SRb's in the past with this setup because of the transmitters. I told him that's the difference between the two. With that said, I have run 7 UCR411a's in the same block in the same bag with another 7 in the same block in the other A1's bag on the same set and we had several major intermodulation issues with our own units being in the same block. So the 411a's front end filter is not a perfect solution to intermodulation at this time, but then again, who's idea was it to have 14 body mics in the same block running simultaneously in the same room in Midtown Manhattan?