The Sound Devices MixPre II are second generation audio field recorders, now sampling in 32-bit float for high dynamic range audio. Learn more about what that means by reading on. Sound Devices have introduced the next line of audio field recorders that are targeted at a wide range of users from one man band type videographers to professional sound recordists in broadcast and film. There are three new models available, from the MixPre-3 II with 3 XLR inputs up to the MixPre-10 II that features 8 x XLR/TRS combination inputs. Sound Devices MixPre II. Image credit: cinema5D The field recorders now include ultra-low noise preamps with analogue limiters, that can reduce sudden peaking before the audio is digitized. Moreover, 32-bit float bit depth recording at 192kHz sampling is included as standard across all three devices. In the circumstance you might miss the first few seconds as dialogue, the MixPre II devices have 10 seconds of pre-roll running too. “RAW” Audio With 32-bit Float Bit Depth 32-bit float recording means clipped audio can be rescued. Image credit: cinema5D One of the greatest advancements included in this device is the 32-bit float bit depth, enabling a dynamic range of 700dB+ to be captured. What does that mean? It means that with the ultra-low noise preamps included in the MixPre II series, you are able to record the loudest or quietest of noises without the audio clipping or distorting due to the noise floor. The gain of clipped audio can be reduced in post to reveal the regular (and audible) peaks and troughs of a standard waveform. This feature will be particularly useful in scenarios where setting the gain is unpredictable, or there are large changes in audio loudness. This is a real technological advancement in audio recording; clipped or audio recorded too loud can be recovered in post. Previously this feature has been held back by the hardware, but now this is possible in the latest MixPre II series. In regards to file sizes, sampling at 192KHz in 32-bit float results in 33% larger file sizes, that record onto SD card. A backup is also recorded onto a USB drive to immediately hand off for editing. Timecode and Trigger via HDMI and BNC For professional applications, timecode can now be generated in the device, as well as sent to all of the MixPre II devices. In the 3/6 channel models this is via HDMI and 3.5mm aux inputs. Start/stop recording can be triggered via HDMI too. The larger MixPre-10 II accepts timecode in and out via BNC, all of the devices can output timecode via 3.5mm stereo output too. The Sound Devices MixPre II field recorders are available in 3 different models; MixPre-3 II, MixPre-5 II and MixPre-10 II. The comparison chart below denotes their differences. USB Interface and App Control The Sound Devices MixPre II series can be used as a USB interface for capturing audio in Pro Tools, Audition and other computer based audio applications. Useful for ADR or podcasting applications. The devices can also be controlled via bluetooth to Apple and Android devices as well. Sound Devices App. Image credit: cinema5D We always report about developments in camera sensor dynamic range, but the introduction of 32-bit float bit depth (Especially in this price category) is a very impressive leap forward in audio recording, that enables every detail of audio to be captured and recovered if needed. Could this be the new game changing audio development we will see in audio recording across the board? Does the ability to record 32-bit audio excite you too? Are you after an audio recorder capable of handling many different production scenarios? Let us know in the comments.

The new Deity HD-TX allows you to transmit and record audio, as well as apply an analogue limiter to reduce the risk of data loss. Adding to the existing line-up of wireless audio equipment, the Deity HD-TX has been introduced to combat the looming risk of loss of audio. The transmitter operates like a standard device, but when you insert an micro-SD card the device will record the native audio from the microphone before being sent to the receiver. Record and Rescue Your Audio In the event of a wireless audio failure, the audio file is still stored on the transmitter and is safe to use. Additionally, an analogue limiter is activated at 5.5dB to rescue any audio that may peak or distort. The Deity HD-TX has one XLR connector to be used with handheld or boom mics mics, and one mono 3.5mm mini jack input to be used with lavalier microphones. Both can’t be used at the same time, but the device will prompt you to choose whether phantom power is required when connecting an XLR mic. In regards to recording, the audio is recorded in 24-bit/48khz PZM lossless .wav format, ideal to take straight into the edit as and when required. The in built lithium battery (2600mA) can run for 10+ hours, even when using phantom power. New S-Mic 2S Built on the basis of the original S-Mic 2, the smaller S-Mic 2S is 12cm in length but features the same circuitry as its larger sibling. This can be used in a regular directional microphone setting; on a boom or directly onto the HD-TX. The Deity S-Mic 2S and the HD-TX can be hooked up to the pre-existing Deity-Duo RX for a complete wireless audio solution. The two products will be available to purchase individually, and part of wireless kits respectively. Deity are aiming to get the microphones on the market in a couple of months too. Have you been in a situation where you needed pre-transmission recording? Would you find this kind of feature useful in other wireless microphone systems? Let us know in the comments.

Tentacle Sync unveils pocket-sized audio recorder called Track E with synchronization over Bluetooth and 32 bit floating point technology. It records audio on SD cards and can be either synced with another Track E (or Sync E) device, or it can function as a standalone recorder. Tentacle Sync is a German-based company designing and producing timecode generators. Their products have become very popular among many camera operators and sound grips. They offer reliable timecode syncing in a very compact form factor. We did a quick review of their Sync E timecode generators back in 2014. It seems the creators at Tentacle didn’t leave the drawing boards as they are showing new product at this year’s IBC in Amsterdam. It is called Track E and it’s Tentacle’s first audio recorder with synchronization. What is it capable of? Tentacle Sync Track E This new audio recorder is nearly as small as the popular timecode generator Sync E, so it can easily fit in the pocket for recording on the go. It can function for example as a recorder for a clip-on microphone eliminating the need for a radio-link. It offers synchronization over Bluetooth based on the well established Tentacle Sync technology. Track E audio recorder. Source: Tentacle Sync After an initial syncing process the devices run independently with less drift than one frame within 24 hours. This means that the Track E will work in environments where regular wireless transmitter fail. It is controllable through an app for iOS or Android and it seamlessly integrates with other Sync E and Track E devices. The Track E audio recorder does not necessarily need a Sync E device to operate – it can easily function as a stand-alone device. As soon as the device is turned on, it will be recognized by the Tentacle Sync app and can be configured wirelessly. The Track E uses 32 bit floating point technology for recording the audio with a significantly enhanced dynamic range. This means that the gain of the recorded audio doesn’t matter. Audio that was recorded too quiet, can be raised in volume to the desired level without raising the noise floor. 32 bit floating point also means that no digital clipping will occur. This technology makes the Track E a versatile set-&-forget-device that will always deliver high quality audio. Track E audio recorder. Source: Tentacle Sync Tentacle Sync Track E records the audio on SD cards. An input limiter and a high-pass filter are included too. The mini-jack connector has a screw to offer maximum security for connected microphones. The Track E features adjustable plugin power for supporting a wide range of microphones. It also offers headphone jack for direct audio monitoring. Price and Availability Tentacle Sync Track E audio recorder will be available in Q1 2020. A free license of Tentacle Sync Studio is included with every Track E purchase. In addition to the regular Track E, there is going to be a bundled version with a cost-effective lavalier microphone as well. The exact retail price has not been announced yet. What do you think of the new Track E audio recorder? Do you use Tentacle Sync timecode generators for your work? How do you like them? Let us know in the comments underneath the article.

Sound Devices has just announced an update to its MixPre series of field recorders: the MixPre II. These new recorders keep the same form factor as the previous generation, and most of the improvements are under the hood. Let’s take a closer look! Image credit: Sound Devices Sound Devices MixPre Series of Recorders If you are a sound recordist, a field mixer, an independent filmmaker, a production company, or anybody serious about video production, you can’t go wrong with Sound Devices’ products. The MixPre series of field recorder was introduced in 2017, and it’s one of the best affordable field recorders available on the market. Image credit: Sound Devices There are three recorders in the MixPre series: the MixPre-3, the MixPre-6, and the MixPre-10T. The number at the end of each product tells you how many ISO tracks it supports. I own a MixPre-6, and I can’t tell you how much I love the simplicity, reliability, and pristine sound quality of this product. The MixPre Series of recorders are already full of great features: 3/4/8 XLR/Line input depending on the model you choose. State-of-the-art Kashmir Microphone Preamps with 48 V Phantom. You can control the input of each channel via the large knob on the front of the unit. There is a high-quality amplifier inside the 3.5mm headphone jack. Analog limiters that do an incredible job. A small touchscreen on the front of the unit with one of the best user interface I’ve ever seen. Records onto SD cards. Sample rate recordings: 44.1, 48, 96 kHz for the MixPre-3. The MixPre-6 adds 192 kHz, and the MixPre-10T adds 47.952 and 48.048 kHz. Every model features a USB Type-C port. You can use your MixPre as a USB audio interface, but also use a USB Control Surface for more comfort, or power it via a power bank (that’s what I do, and the battery life is over 10 hours). You can connect your camera to the MixPre via the micro-HDMI port, so your camera automatically triggers the MixPre. The MixPre line of recorders are Bluetooth LE compatible, and the Sound Devices Wingman app is convenient. This product works and makes your life on set much more straightforward. So how do you make a great recorder any better? Sound Devices MixPre II Features Here is what’s new in the MixPre II series of recorders: Bit depth up to 32-bit float for increased dynamic range. Record up to 192 kHz for every model. Faster, more advanced hardware. New headphone knob “tire” that is removable in case large connectors or cables get in the way. Internal LTC Timecode Generation and Output. Adjustable Limiters. Auto-copy to USB Drive. Pre-roll buffer increased to 10 seconds for every model. Some features are not new and were already available on the first-generation MixPre 10-T. Below is a quick summary of the differences between the first and second generation, and a comparison chart of the features of every MixPre II recorder. I think one of the main selling points of this update is the 32-bit float recording capabilities. In short, 32-bit float files allows you to recover a bit of information if the signal recorded is above 0 dBFS. Note that not all software and plugins support 32-bit float files; these files are not compatible with Apple Logic Pro X, for example. Some tools like Adobe Audition, iZotope RX7, Reaper, and even Audacity, supports 32-bit float files correctly. Pricing and Availability All MixPre II recorders should be available pretty soon. The MixPre-3 II retails for $649.00, the MixPre-6 II is $849.00, and the MixPre-10 II is $1399. Do you think the new features are worth the update? Have you ever used a Sound Devices product before? Let us know in the comments!

The RØDE Lavalier GO is a new tiny lavalier microphone with a 3.5mm TRS jack connector. It contains a high-quality 4.5mm omnidirectional condenser capsule and a durable, kevlar reinforced cable. Though it is optimised for use with the RØDE Wireless GO, it will work with any device with a 3.5mm TRS mic input. Available now for US $79. Lavalier GO microphone. Source: RØDE The Australian audio equipment company RØDE does not need an introduction. Their microphones are very widely used and I think most filmmakers are familiar with some of their products. This year during NAB, RØDE announced the Wireless GO – a very compact wireless audio transmitter & receiver set. For more information about the RØDE Wireless GO, please check our announcement article and our NAB video interview with RØDE. Today, RØDE launches the new Lavalier GO – a lavalier microphone to accompany their tiny wireless set. What are its features? RØDE Lavalier GO The Lavalier GO is a broadcast-grade lavalier microphone with a 3.5mm TRS jack connector. TRS (tip-ring-sleeve) means that the connector has three conductors. It contains a high-quality 4.5mm omnidirectional condenser capsule and a durable, hard-wearing kevlar reinforced cable. Lavalier GO microphone. Source: RØDE It is optimised for use with the RØDE Wireless GO, but will work with any device with a 3.5mm TRS mic input, which supplies plug-in power. It is even compatible with smartphones and other devices with TRRS inputs, using the RØDE SC4 adapter. Lavalier GO microphone. Source: RØDE RØDE Lavalier GO – Key Specs Acoustic principle: permanently polarised condenser Polar pattern: omni-directional Frequency range: 20Hz – 20kHz Output impedance 3k Ω typical Signal to noise ratio: 67 dB Equivalent noise: 27 dB typical Maximum SPL: 110 dB Sensitivity: -35dB (17.8mV @94dB SPL) Dynamic range: 83dB typical Power requirements: powered from plug-in power TRS socket (2.7V) Output connection: gold-plated TRS plug Lavalier GO microphone – included accessories. Source: RØDE The RØDE Lavalier GO is now shipping and will be available in stores soon. The costs are set at US $79. The Lavalier GO comes with a durable mounting clip for quick and easy rigging, a foam pop filter for reducing harsh plosives and wind noise, and a carry pouch. For those looking for a lavalier with a locking connecter, the RØDELink Lavalier microphone that ships with the RØDELink Filmmaker Kit is now available to buy, separately. What do you think of the new Lavalier GO? If you use RØDE’s wireless GO, how do you like it so far? Are you going to pair it with this new mic? Let us know in the comments underneath the article.

The Sony a7R IV was just announced and it might bring many enhancements for dedicated photographers, but for us filmmakers, it brings very little in comparison to previous Sony models. In fact, some of the video specifications found in this new camera – like color sampling, bit depth, resolution, frame rates, data rate and such – are exactly the same as those found in the ageing Sony a7S II, which was released almost 4 years ago! Sony a7R IV – still from the 4K timeline I know this is a bit of a harsh opening for an article, but I do have to express my frustration. Please don’t be mistaken, I have A LOT of respect for the people who are behind the new camera, and I can assume that many photographers will find what they were looking for in this new Sony offering – but, let me take one step forward and say that when it comes to the filmmaking crowd, Sony is risking to become less relevant, not taking action like other manufacturers do. When attending the press event in Ireland, I kept hearing that “the new a7R IV is a photo camera primarily, and that is why the video side of it is not enhanced”, but in all honesty, in my opinion this argument is not so relevant anymore. Look at what FUJIFILM and Panasonic (for example) are doing with their new cameras: By offering the best they can for photo and video performance in one shooting device, they are able to attract many. Now, I’m not saying that Sony should do the same, but at least the argument should be different or, better yet, a bit more clear about their future camera roadmap. Sony a7R IV Sony a7R IV – Video Highlights in a Nutshell Real-time Eye AF for movie recording and advanced Real-time Tracking APS-C crop mode (1.6x crop) 5.76 million dot UXGA (Ultra-XGA) OLED electronic viewfinder Full pixel readout with no pixel binning in Super 35mm mode Multi Interface Shoe with digital audio interface for high-quality sound recording with Sony’s new ECM-B1M Shotgun Microphone and XLR-K3M microphone adaptor Kit HDR recording (Hybrid Log-Gamma, HLG) S-Log 2 and S-Log 3 The 29 minutes recording limitation has been removed Sony new ECM-B1M Microphone Sony’s New Accessories Actually, what keeps me optimistic are the 2 new audio accessories. If those are anything like a commitment to the filming community, then the future is bright. What really captured my attention is the new ECM-B1M Shotgun Microphone. This new device is like having 3 different microphones (pattern-wise) in a single product. I must say that the demonstration I had was very convincing (it will be interesting to see how this microphone performs in the filed). In addition, the new Sony XLR-K3M now supports an additional 3.5mm stereo mini jack for microphone and line input. Both of the new audio accessories are designed to work best with the new a7R IV, as they support digital audio interface, meaning audio is directly transferred to the camera in digital form without noise or degradation. Sony XLR-K3M – Additional 3.5 input   Conclusion I guess this is one of the shortest hands-on articles I’ve ever written, simply because there is not much to highlight about the video capabilities of the new Sony a7R IV. The video output is nice, but video specifications-wise, this camera leaves a lot to be desired. On the positive side, I managed to write a short article and not mention the much anticipated Sony a7S III. Bravo Johnnie… Music is courtesy of MusicVine. Get 25% off your next music license with code C5D25 (valid for one use per customer). What do you think about Sony kind of neglecting us filmmakers? Are you still hoping for a better-spec mirrorless camera to arrive from Sony or have you moved on to use other manufacturers’ equipment? Please share with us your thoughts in the comment section below.     Full disclosure: Johnnie and other media representatives were guests at Sony Europe’s a7R IV launch event in Dublin, Ireland. Sony paid the transport and accommodation for this two-day trip, but there was no other payment involved whatsoever. 

DISH is a zero-configuration timecode generator which gets a precise time-of-day timecode in UTC from public satellites. It can sync unlimited number of devices on set and it records the linear time code (LTC) to an audio track. When without satellite signal, it keeps track of accurate time thanks to internal TCXO clock. The DISH is now live on Kickstarter. DISH timecode generator Professional productions typically record sound and picture on separate devices and many times there are multiple cameras on set. Each camera and sound recorder produces its own files for each take. Timecode sync lines up these files on an editing timeline automatically. Some of the most widely used devices for audio timecode sync nowadays are from Ambient and Tentacle Sync. DISH creator Ari Krupnik is an engineer with background in Tesla and other startups in Silicon Valley. He created DISH Kickstarter campaign to bring a plug-and-play alternative to other timecode syncing solutions on the market. Especially for cameras that typically don’t offer timecode in/out, like DSLRs and mirrorless. DISH timecode generator The device takes public radio signals from atomic clocks and embeds precise timecode in cameras and audio recorders. All DISHes everywhere in the world report the same time-of-day timecode, in UTC (more specifically, in International Atomic Time). You don’t need to jam-sync all the devices like in a typical timecode workflow. GPS is one of the multiple satellite systems DISH receives signal from, so it is redundant for increased availability. DISH also has a built-in temperature compensated crystal oscilator (TCXO) clock, so it can keep track of the accurate time even when temporarily out of reach of a satellite. For instance when shooting in a basement, underground, or tunnel, etc. If you stay out of reach of a satellite for a long time, the DISH will tell if the time drifts enough to need a resync with a satellite signal. DISH timecode generator in use. DISH locks down the frame rate and output level – it runs internally on 24 fps. To aviod confusion, DISH puts the timecode on an audio track. Audio streams are inherently continuous, and can take timecode at a different rate than the video in the same file. That means you can still shoot whatever framerate you prefer. The design is simple – DISH only has a locking 3.5mm jack output and a status LED. The device does not even have an on/off switch – it turns on as soon as the output cable is plugged in. It is a plug-and-play device, so it does not need any configuration whatsoever. It works with any camera/sound recorder that has a microphone input. Right now it is only in white, but its creator tries to find a suitable black material for the chassis which will not weaken the satellite signal. Many DSLRs disconnect onboard microphones if you plug in an external input. That’s why there is a microphone in the device. If you plug a DISH into the DSLR, you get timecode on the left audio channel and scratch audio on the right. For one-man crews there is a Y-adapter to plug the DISH in the camera and in the audio recorder to get timecode on both devices. DISH timecode generator DISH outputs LTC (Linear Time Code), which is an international standard. Many NLEs support LTC natively (e.g., Avid, DaVinci). For NLEs that don’t support it natively, there is a number of stand-alone software utilities that extract timestamps from LTC files. Additionally, Ari has created a free, open-source application – LTCsync – which runs on Windows, Mac and Linux. You can download a pre-release version from GitHub. The device itself is quite bulky in my opinion. It is partly because of the 2 AA batteries the DISH uses. The manufacturer claims that a pair of high quality AAs will keep the DISH operational for over 40 hours. Removable batteries might be bigger than a built-in lithium battery solution would have been (like in the Tentacle Sync devices), but they also have their advantage. When drained, they can be easily replaced with fresh ones within seconds. Most filmmakers usually carry spare fully charged AA baterries on a set. The campaign‘s $10,000 US financing goal is about to be met as this post goes live. It runs till July 12, so there is still time to pledge. The rewards range from $169 to $1,299 US depending on the number of DISHes you want to get. Estimated delivery time is September 2019. Interestingly enough – as one of the award – DISH creator offers three pieces of the v0.3 prototype to Kickstarter backers for $449 US each. They should be fully functional and are supposed to be shipped immediately after the successful end of the campaign in July. We say this at the end of every crowdfunding-related article: Please be aware of the risks when backing a project on crowdfunding platform. Please read Kickstarter’s terms of use – especially Section 5 “How funding works”. Keep in mind that there can be significant delays when delivering the product. Some projects even don’t get delivered at all. What do you think of DISH? Which solution do you currently use to sync timecode on set? Let us know in the comments underneath the article.

Accusonus has just launched version 4 of their one-knob plugins for filmmakers – ERA. But, do these simple-to-use plugins, which are compatible with nearly every NLE and DAW on the market, hold their promise? Let’s take a look with this comprehensive review by a non-audio person. The team at Accusonus is moving fast and continuously improving their products. We first talked about the ERA series of plugins a couple of months ago. In the meantime, they already had version 3.0 out, in which they also introduced a new De-Clipper plugin. This update was free for all existing customers. Today, they are back again – with version 4.0 – and we’ve decided to give you an in-depth review of how these tools can improve the audio quality of your next project. In-the-Field Reality Let’s first start this article by saying that I am not a professional sound mixer or sound engineer. In fact, I don’t retain any job with the word “sound” in it. I’m just a filmmaker, doing mainly corporate/advertising films and a couple of music videos. Indeed, like many filmmakers, I – most of the time – have to deal with sound recording and sound post-production myself. You don’t have any other choice for smaller projects when working as a one-man-band. Nowadays, it is easy to have access to some pretty decent audio recording gear that will get you great sound with just some knowledge about how to record proper sound. Doing a necessary EQ/Compress/Automation treatment is a whole different world for most of us. The reality of the field is that you often don’t have enough time (or there is not enough budget) to polish the sound mix or vocals treatment. Turnovers are so quick, and the final product has to go live as quickly as possible. Usually, the sound coming straight out of the recorder is just good enough for most clients. We all know that – and don’t blame yourself for not treating your audio – be happy about delivering on time. Photo courtesy of Kal Visuals Accusonus’ Promise There is a situation that every freelance filmmaker has faced once or twice. You go on location for an interview and see the beautiful, typical corporate room/office. It consists of a desk, a chair, white walls with some posters if you have some luck – and the fantastic reverb of that empty space. We all know that, and you can’t control where each and every interview will take place. There is nothing you can do about reverb on set if you have to move quickly (except putting sound blankets all over the place, but that’s not quick). You’ll have to fix it in post, or at least do as much as you can about this. Audio treatment in post-production is time-consuming and complicated. You can’t mess with every button of plugins and hope that it will sound great. It will not. So, you have a couple of solutions: hire a professional sound recordist (and it’s worth it if you have the budget for it), learn how to do it yourself, and buy some plugins to help you with that, specifically. For that last one, the team at Accusonus has developed the ERA collection of plugins. This series of plugins is designed with filmmakers in mind, to make their lives easier, with a simple turn of a button. Photo courtesy of Kal Visuals Accusonus ERA Plugins and Installation For this test, I chose to use Adobe Premiere Pro, and the installation process is simple. All you have to do is download the installer (which you can do here), you double-click on it and install the plugins. Then, all the plugins are automatically added to your VST library. Finally, launch Premiere Pro and scan your audio library, choose if you want the VST or AU version of the plugins in the list, and hit ok. When you first apply any ERA plugin effect to a sound and press edit in the “effect controls” panel, the activation window pops up, and you have to enter the serial number you received from your purchase. You can also try the plugins for free for 14 days. The ERA series of plugins consists of six plugins for the “standard” version and seven for “pro”. They are: De-Clipper: what’s over the limit is usually gone and will sound distorted. The De-Clipper will help you repair and save your recordings. De-Esser: this plugin will smooth out “ess” sounds from your recording. Noise Remover: allows you to reduce/eliminate background noise coming from fans or air conditioning, for example. It is also useful to remove noise that comes in when your recording levels are set very low. Plosive Remover: plosives are “P” and “B” sounds that are usually louder (and distorted) than the rest of the recording. this plugin will allow you to polish and smooth out those sounds. Reverb Remover: this one estimates the reverb from your recording and allows you to reduce it. Voice Leveler: if your speaker doesn’t talk at an even level or in case of involuntary movement, this plugin will adjust the gain of your vocals evenly. ERA D: only available in the Pro version. It focuses on Denoise and Dereverberation tasks. You can see the full list of their plugins within the ERA bundles on their website here. How It Works Each one of these plugins fixes a specific problem. I like the idea to have one tool for one task and not a one-do-it-all plugin with buttons and settings all over the place. Also, the concept of the ERA plugins is that inside a plugin, you only have one knob to turn. You don’t need to have extensive knowledge of audio post-production to make it work. Turn the knob and let it do the job for you until it sounds to your liking. I don’t have any idea about “how” it works under the hood, but it works to a certain point. Of course, inside each plugin, there are a few other parameters that you can adjust, but not a ton. For example, you can adjust the output gain or the breath control in the ERA Voice Leveler plugin. The Test For this test, I did a couple of recordings that are specific for each plugin. Of course, I tested each plugin in “real life” projects, but due to confidentiality issues, I cannot share recordings from paid gigs. Back to this test, I used a Sound Devices MixPre-6 as my recorder with the built-in pre-amps. I recorded everything in WAV, at a sample rate of 96kHz, and a bit depth of 24. To make it more realistic, I used two channels and two microphones: The first one is a Sanken COS11 lavalier, which was attached to my shirt and plugged to a RØDELink transmitter. The receiver went straight into the Sound Devices input. The second one is a RØDE NTG1 boom microphone, plugged directly into the Sound Devices at a distance of around 1 meter from me. Please note that I’m not a RØDE ambassador, these are my microphones (and I paid for them). I think that they are decent and “affordable” microphones. Plus, these microphones are pretty standard in the industry and representative of what most indie filmmakers could rent or buy. The recording setup. Accusonus ERA 4 Results Here are the results for each plugin. Please, note that: The first take is from the lavalier straight out of the recorder. The second one is the lavalier with the ERA 4 plugin applied. The third one is from the boom mic straight out of the recorder. The fourth one is the boom mic with the ERA 4 plugin applied. Indeed, I advise that you use a set of headphones to have a better idea of the results. To me, the Accusonus ERA 4 plugins work pretty well. I tried this on numerous other “real life” projects, and they did a great job with very few tweaks. The ERA plugins run perfectly smooth and in real time on my MacBook Pro, except for the De-Clipper, which needs a little bit more processing, I guess. The good thing is, Premiere never crashed because of the plugins. Of course, the better your original sound recording is, the better the results. But, if you need to quickly fix some audio mistakes you made, without a lot of effort, the ERA plugins are the right solution. The Accusonus ERA 4 De-Clipper Pricing and Availability The ERA 4 plugins are available now through the Accusonus website. The upgrade to version 4 is free for all existing customers of the ERA Bundle Standard and ERA Bundle Pro. The ERA Bundle Standard costs $149 and the ERA Bundle Pro is $349. Head over to their website to learn more or purchase. Alternatively, you can also buy them at B&H, through the links below. Did you already try the ERA plugins? Do you think they could be a useful part of your toolkit? Let us know in the comments down below!