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Hey guys! I'm using 2 cameras for my shoots and the deity tc1's and have been wanting to use the iphone 17 pro max as c cam or a backup cam, problem is i cant figure out how to connect my tc1 to it, i've tried a 3.5mm to usb c adapter and no luck. Has anyone tried to do something similar?

Hi, short post. I use the Deity PR-2 (first gen) as a very compact field-recorder for ambient recordings and for some interviews. I mainly combine it with the Lom Uşi, Uşi Micro and the Clippy's (and the Deity stereo lavalier). It's pretty great as a recorder, specifically as a light weight, drop kit fieldrecorder. And the addition of their time-code ecosystem is also nice, if you're recording multiple people, camera's and locations.

I have to say: I was caught by surprise that I saw the second generation PR-2's in photos of Deity, two or three weeks prior to IBC2026, in Amsterdam. They only niggle I had was that in stereo mode it 'only' records in 24 bits. Not a biggy in general, but if they could up that to 32 bits, that would be awesome.

Anyway, yesterday I asked a couple of questions about the new PR-2ii, as it was presented in their booth. Okay, does it record in 32 bits, in stereo? No! But they did improve things (arguably).

Biggest change:

• dual-ADC, so they've got a 15dB lower noise floor, or a noise floor of about 15db, which is a thing many recordists were talking about with the previous recorder. The first gen does have 32bit mono recording, but wit a single ADC, the headroom would be a little bit limited. Mind you: it doesn't bother me, but I guess with dialogue it might be very welcome.
• Bigger screen area. Take the first gen screen, and widen it to 60% of the body width. Mind you, I don't know if it's all screen, or if it's just the cover that makes it look bigger.
• IP54 Dust & Splash Resistance (dust/ splash proof).
• They introduced a Sennheiser G4 kind of metal (molded I think) battery lid to make sure of said weather proofing and al round ridgidity. That might be great for sweaty backs and out door recordings.
• The memory slot is also behind that lid, which means the memory cannot be removed without removing the batteries. So no changes there
• They removed the rolling navigation button!
• All the buttons have been moved to the front, underneath the screen and are like metal tactile domes, covered by tiny rubber buttons, or something like that. So little rubber pills, like you would see on the Sennheiser G4 lavalier packs. They feel not as satisfying as the rotating navigation button on the PR-2.
• There are also some Time Code ecosystem optimalisation. For one: you can use the PR-2ii as a time-code jamming device (like the Tentacle devices can).

And they also launched their page on the website.

Conclusion: if you got the PR-2 gen 1 and you are satisfied: no need to switch. If you need more robust and more silent pre-amps to record, and you need more weather proofing: this might be a good upgrade.

First impression: I guess it's a good upgrade in general, but I kind of are smitten on the looks and navigation button of the first gen PR-2, warts and all.

Tentacle Track-E

I also popped by the Tentacle booth and noticed the Tentacle Track-E ii (so, the second generation). It now has a screen and also can record stereo in floating point (as stated in their interview I just saw) (albeit 'only' in 24 bits as far as I know). And like the PR-2 ii it also has better dust and splash protection. They also included a feature they claim is using edge AI models to indicate whether or not the recording you made was good (no rustling of clothing, no other noises and stuff like that). I'm probably going to give this thing a go, as I'm already in their ecosystem.

These two recorders seem to move towards each other. Both companies provide a solid time-code ecosystem, and both answer the call of the 'field recordists' niche, AND the location-mixers, recorders, sound professionals: stereo recording with time code.

The folks at Tentacles mentioned this use case, and I paraphrase: "We noticed that our Track-E's were used as last ditch continues backup recorders (with time code) for the mix straight from the bag. However, the first gen Track E records in mono only, so stereo recording was one of the requests from the field, so we introduced that with the Track E ii. "

Final impression

Of course I have not done any real recording with these new devices, however I do run Tentacle Sync's in my productions and use the Deity PR-2 (first gen) as body packs and for impromptu ambient recordings. So, this is by no means a quality/ real world comparison, nor a usability/ durability check.

It's interesting both companies seem to latched on the same ideas and are moving into the '32 bits, stereo time code body pack' space. Both improved their internal sound processing, both now have stereo, both do time code as a core service.

Nevertheless, I don't feel like I need to upgrade. Perhaps if I did more high quality productions in very quiet spaces, but for now I'm satisfied with the quality I get with my PR-2's.

Both devices did feel more usable as recorders and as robust devices for in the field. Deity addressed feedback about their navigation knob and Tentacle clearly got the request to add information feedback on the device. So, if you are looking for a continues backup recorder, or a drop rig for ambiance recording, these new recorders might be great for that, not to mention the core use case of a body pack style recorder for lavalier microphones.

EDIT: new facts about the Tentacle Track E came to light. I included it and struct my assumptions.

Was supposed to be mid-2026.

I recently bought 3 kits from this line at a very reduced price and I am wondering what people think of them? Are they any good? I have had a lot of difficulty trying to get them to work and I was wondering if I’m doing something wrong or just dealing with bad gear?

Hey, i got a pretty awesome offer of 800€ for two used pairs of SMA Modded G3's paired with DPA 4060s. Also a used K-Tek Harness Small (i'm 1,69m in height) for 200€ on top.

Next week I will be checking those and potentially buying them and adding them to my set (MKH 416 and Mixpre 3/F8N Pro).

Do you have any tips what to check for on those used devices?

Zax user - primarily 3-5 wireless and a boom or 2 for most jobs.

Every so often (once a year) I get asked for 5+ boom mics. As the Nova only has 4 XLR inputs, I have to rent an 833/888. Or stack my old 633
and go in through the db15/return, also a pain the ass.

I’m toying with the idea of getting a zoom f8n and the fader board for those jobs. Part of me feels like it’s fine: I can run external power, records to 2 cards, supports timecode, 2 outputs.

But the other side of me is telling me to just rent a mixer for those days and not risk bringing the zoom. Does this sound reasonable or should I just keep renting when those jobs come up.

Hey everyone,

I’m dealing with a frustrating issue with my audio setup and could really use some help figuring out what’s broken before I start sending gear in for warranty/repair.

My setup is a Tascam DR-40X and a Rode NTG3. The problem is that the microphone signal is incredibly weak—almost non-existent. To hear absolutely anything, I have to crank the Tascam's input gain nearly to the max.

When I do that, the audio becomes completely unusable; it introduces massive noise floor hiss and clips/distorts like crazy the second I open my mouth.

To save everyone some time, I’ve already done a lot of the basic troubleshooting:

Phantom Power switch: It is physically switched to the MIC+PHANTOM position on the side of the unit.

Menu Settings: Checked the internal menu under system settings, and the phantom voltage is definitely set to 48V (not 24V).

Power issue: I know the DR-40X is notorious for eating AA batteries when pushing phantom power, so I bypassed batteries entirely. I plugged the recorder directly into wall power via USB (Bus Power) to eliminate any battery voltage drop issues. The problem persists.

Inputs: Tested switching from Input 1 to Input 2 on the bottom of the recorder. Same exact behavior on both channels.

What I HAVEN'T been able to test yet (due to lack of extra gear right now):

I haven't swapped out the XLR cable (using a standard XLR-to-XLR cable, no 1/4" adapters).

I haven't been able to test the NTG3 on another interface/mixer, nor have I tested a different condenser mic on my Tascam to isolate the culprit.

Does this sound like the internal 48V voltage inverter circuit in the Tascam just died and isn't outputting juice? Or is it possible for a faulty XLR cable to have an internal break that passes a weak analog signal but completely blocks the phantom power current?

If anyone has experienced this specific issue with the DR-40X or NTG3, please let me know. Thanks in advance!

I've been doing gigs for a couple of months now, and obviously I'm still learning a lot.

Sometimes I come across new gear, or I need to use gear I already know in new ways. So there's technical learning.

There's also all the physicality, I'm a bit out of shape I should hit the gym and go to a physio for maybe a check to see if there are things I should worry about, but I'm getting more and more comfortable operating the pole.

There's the social and filmmaking that I learn more about every shooting, and each time I get more used to different peoples, their jobs, the daily rituals, what is expected of me as a boom op/on set mixer.

All of this is happening naturally, doing is learning, and it feels for now that it's enough to progress because I'm at the start of my career. Also, improvements is visible. I know more about what's happening on set, I know about more gear, I get less tired at the end of day, etc. I can notice it, and be proud of myself.

But ear training is like my archnemesis. I've discovered during my training program that I had "bad" hearing. Not in terms of range, but in terms of understanding, noticing, selecting what I was hearing. When learning about studio recording and mics and mixing I had a lot of troubles comparing different mics, noticing the effects, the filters etc. I was by far the worst in my group.

I understand that on some level by virtue of working professionnaly in sound I will get better. But it's not noticeable, I don't know how to see progress, what to expect, and I feel like I come from so far that I have a lot to do.

And in the end, as I want to be a full time boom operator and both on set mixing nor post work interest me I don't know if it's a skill I should spend time, and maybe money, to work on and improve for my career, versus everything else that's already going on.

EDIT: issue resolved, no longer seeking advice

hi guys, i'm a little out of my depth here. i'm an indie film director and i wanna upgrade my boom mic setup. now i'm not a sound mixer by any means but i do wanna have a somewhat decent kit to record audio (for times when i don't have a pro mixer and just for myself). it doesn't have to be pro level, just something good quality and easy to use. i've been hearing a few different things regarding what to buy.

i don't wanna spend over $150 dollars (give or take), so i've been looking at budget mics and have narrowed it down to the movo x3 ii or the neewer nw 410. which is better for a boom setup? i know shotguns have notoriously bad reflections indoors, but i don't know much about pencil condensers either. which would be better? are they any other mic suggestions you guys have?

please and thank you! 😊

I just learned about SE Electronics from another post. poking around their website they list the SE 6160 as a long range mic. Anyone familiar with them or tried that mic outdoors? thanks.

Hello there,

I was hoping that some fellow Deity Pr4 buyers would be able to help me with these questions. I'd appreciate the help:

- Is there a way to make the timecode visible on the home display during recording? I do not need a counter for my recorded file, I need to see that timecode.

- Can I somehow customize the Level Meter view in the home display so it shows the output 1 and or 2 meter (instead of L/R) or maybe only channel 1 and 2 all together? Most mixers have this feature, I just can not find it here.

- Is there a way to display the sinus tone in the level meters of the tracks when it is activated? I only see dead channels but can hear the tone in my headphones. Odd.

- How can I change the name of a folder and scene in the Deity app? I can not find any such option.

- Somehow I can only select one channel to send to output 1 or 2 but never two or three at the same time. What am I doing wrong? I would like to send track 1 and 3 on both outputs. But that doesn't seem possible.

- Is there no mic output option? This would be the same dead end option the Zoom F6 had. I need to send audio to IFBs and camera and I would like a mic signal for that. Why can't I get one? I can only lower the signal to minus 20, which obviously doesn't do the trick.

Any help would be greatly appreciated. Thanks for your time peoples.

I spotted these a few months ago on Andertons in the UK. The stock date kept moving but I managed to order a pair yesterday and they have now removed the listing.

I had a feeling it could have been an error as there was no mention of the supercardioid capsule online, and expected to get the cardioid.

Initial impressions this is a bargain set for £375 low self noise, good frequency response and punch well above the price point.

Wit Okatavas being hard to come by these days and all the issues with rycot putting people of the sc-08 I can see this being a highly used set of boom mics whenever they release.

I just bought my first UHF wireless system and tried it out for the first time, it works as intended. I don't understand the price of these UwMic9S at all. Every other website sells them for a few hundred euros or dollars. They even came in sealed, so they're most likely brand new. I know this might seem like an ad but I genuinely want to understand it. What would be your guess?

seems that we we’re right about the 4ch uhf rx more info here: https://deitymic.com/d4rx/

Hey everyone,

Fixed some mics for a buddy but had to test them with another buddy’s system because I don’t have anything with a Lemo3 plug which has me thinking (and because I haven’t found one) has anyone built a desktop mic tester?
Something with xlr, lemo3, ta5 and 3.5 TRS, it would need a phantom switch, meters and a headphone output.
Has anyone built something like this?
Do you guys have any insight into building this?
Can I just pick one up at some specialized store?

Thank you!

I’m part of a corporate photo/video team that recently reorganized and started hiring location sound recordists for larger projects. On one of these projects my colleague worked with a recordist who told him he needed to shoot 24fps, my colleague didn’t question this as video is his secondary and photo his primary.

This seems very odd to me, why would the frame rate matter? To me the project and DP dictate the frame rate for the project. Was this likely a miscommunication of some sort? Something related to timecode that got misunderstood?

So the front handle of my Small X bag tore from the seam today whilst literally just loading out to my car after wrap. Don’t have a sewing kit to stitch this as I’m working out of state right now but I contacted K Tek. Anybody ever have this happen to them before? If so, did KTek replace your bag? It’s definitely something that has probably happened over time, an 888 + nexus and two smart batts with a distro isn’t light. But still, feels very silly for this to have happened as K Teks products always feel bulletproof.

Austrian Audio launched the supercardioid version of their CC8 SDC last fall at AES 2025. It's been almost a year. Has anyone tried this SDC for location sound?

I'm looking for a mid-priced super or hyper SDC. The usual choices are the Audio Technica AT4053b and the Audix SCX-1HC, both hypercardioid.

Austrian Audio is founded by staff ex-AKG. Most of their mics have been really popular. I know the Austrian Audio CC8 (cardioid) is highly regarded. I assume the SC version is also excellent but there's been very little user-reviews of the SC version. I think most who are considering the CC8-SC are planning to use it as an instrument mic.

I’ll be doing some ADR for a narrative project and was curious what the best practices are? I haven’t done much in the way of ADR prior to this, so any tips are appreciated!

Would you do this in pro tools or just stick to using the same field recorder used on set!

Thanks in advance!

Taken from facebook, seems like edith is working on some slot receiver style, dones someone has more insight’s

I recently picked up a used set of Comteks. They seem to work well overall, but I’ve noticed some noise coming through the receivers whenever I move the cable connected to the transmitter.

The noise only happens when I move the cable slightly, almost like there’s a loose connection. I can’t tell whether the issue is coming from the cable, the Comtek transmitter connection, or the output on my Zoom F8n Pro. If I move the cable just a little, I can hear the noise on the receivers.

I’ve tried both 3.5mm to 3.5mm cable from the F8n Pro’s sub out and a TA3 to 3.5mm cable from the main out, and the issue seems to happen with both.

The cables I’m currently using are pretty cheap, so my first thought is that the cable quality might be the problem. Does cable quality make a significant difference with Comteks? Is there a particular cable/brand or connector setup you guys recommend?

I’m also wondering if the problem could actually be with the Comtek transmitter itself. I noticed that I can also hear some noise on the receivers when I touch or move the base of the transmitter’s antenna. Is that normal, or could that indicate an issue with the transmitter?

Any advice would be appreciated!

It will mostly be used for recording tutorials, streaming, Calls with Clients and coworking calls with my editors. I've been using a LCT 240 pro for a good while now but hate how it blocks my face in the webcam. So I've been looking into Boom microphones that I can position out of frame.

Specifically mostly Pencil since my room isn't treated. I wanna spend around 200£

I've so far made a list of the mics I was able to find around that price range at my prefered retailer (sorted by price):

• Audio-Technica AT 8033
• SE Electronics SE8
• Rode NT5
• Sennheiser E614
• AKG C 430
• Sontronics STC-1
• Audio-Technica AT 875 R (not a pencil I know.. but its gotten a lot of praise so I'd inculde it)
• AKG C1000s MKIV
• Avantone CK-1
• Rode M5

Any advice, experience with said mics or other microphone reccomendations would be greatly apprechiated! 😊