Monday - Friday 9:00AM - 5:30PM
Saturday - Sunday Closed
Everything Audio Ltd 7A, Elstree Film Studios Shenley Road Borehamwood Hertfordshire WD6 1JG
We stock a wide variety of mixer / recorders to suit any senario you may have out in the field, on-set or even at home! These products include audio recorders & mixers, fader panels, preamps and portable mixers.
Mixer / Recorders come in different sizes and configurations, from small handheld devices with a one or two channels, to sound bag-sized larger units with dozens of channels and some pretty advanced features.
These products are designed to be portable and easy to use, allowing sound professionals to capture and mix high-quality audio recordings on location with ease. They often include features such as timecode functionality, auto-mixing, 32bit float, and advanced routing options to provide maximum flexibility and control.
We offer a variety of different types of microphones, each with it's own unique characteristics and uses.
Shotgun microphones are commonly used for capturing dialogue, mounted on a boom-pole or a camera, while lavalier microphones are often used for their discreet size, making them great for hiding on talent, while still providing fantastic vocal clarity. Handheld microphones are useful for live performances and interviews, while boundary microphones can capture sound in larger spaces, such as conference rooms or in-car conversations.
Various microphone accessories can help with the environmental and acoustic issues while on location. We provide a wide array of wind protection and microphone suspensions to eliminate unwanted noise, allowing sound professionals to capture clear and quality audio that is critical to the success of any production.
Consumables are widely used in the film and TV industry, and are often overlooked, but are crucial for ensuring the smooth running of productions and the delivery of high-quality audio. Consumables are key items to minimise dialog replacement in post-production.
Tapes and adhesives are used to secure microphones and cables to actors and equipment. Straps and pouches to comfortably and safely mount wireless transmitters, while stickies provide a secure, invisible attachment for lavalier microphones. Noise dampening products help to reduce unwanted set noise such as footsteps, while cleaning and sanitation products keep equipment clean and hygienic. Finally, lavalier mounting and wind reduction solutions are used to minimize wind noise and keep lavalier microphones securely in place, and hidden.
Timecode solutions are a way to stay in sync. These products include timecode generators, sync boxes, slates, receivers, and purpose made cables that interface these products between cameras, wireless systems and recorders / mixers.
Timecode is a signal that assigns a unique time reference to each frame of video and audio, allowing for precise synchronization during post-production.
Timecode generators and slates are often used at the beginning of each take to ensure that all devices are in sync, while timecode receivers allow for wireless synchronisation of devices. Timecode equipment is also useful for post-production workflows, where it is used to synchronise footage from multiple cameras and audio recordings.
We stock a wide variety of powering solutions that are essential to the sound department for the film and TV industry. These products include rechargeable batteries, battery chargers, power supplies, and power distribution systems.
Soundies rely on these products to power their equipment, such as wireless systems, portable recorders, and mixers. High-quality batteries and power management systems ensure that sound professionals have a consistent and reliable power source throughout long shoots, allowing them to capture clear and uninterrupted audio.
With advancements in technology, many products in this category are now lighter and longer-lasting and even more environmentally friendly, thanks to higher capacity and rechargeable batteries.
Experience ultimate flexibility as you find open spectrum away from the crowded UHF TV band. The A20-RX two channel true diversity receiver features industry-exclusive SpectraBand technology, which delivers a tuning range of 169 – 1525 MHz in a single unit. Superior low-loss, brick-wall SAW filters deliver excellent performance in noisy RF environments, while the AutoAssign feature makes frequency selection and setting quick and easy.
With SpectraBand technology, you won’t need to purchase another receiver dedicated to a specific country or frequency band. SpectraBand gives you access to nearly twice the frequencies available with other systems worldwide – almost 2600 available channels.
The A20-RX’s AutoAssign scans a tuning band and selects available frequencies for you – perfect for any fast-paced shoot. Meanwhile, brick-wall SAW filters eliminate out-of-band interference so you can get the best RF performance possible. Enjoy immunity from nearby IFB or camera hop transmitters without the need for external filters or extra cabling.
Learn more about SpectraBand, available frequencies, and brick-wall filters.
¹ When comparing systems with same transmit power, same antennas, and same transmission frequency.
Can the A20-Mini be upgraded to transmit with the new wider 470 MHz – 1525 MHz range?
Yes, simply download the free v6.00 firmware and update your transmitter.
Can the A10-TX be upgraded to transmit with the new wider 470 MHz – 1525 MHz range?
No, while the A10-TX will still work wonderfully with either the A10-RX or the A20-RX, it is based on older circuitry which cannot transmit with the wider tuning range.
Can the A10-RX be upgraded to an A20-RX and receive with the new wider 470 – 1525 MHz range?
Yes, this is a significant hardware update which requires a new RF board inside the A10-RX. You can upgrade the hardware of your receiver to the A20-RX for $995 USD or for $750 if you purchased your A10-RX within the last 12 months or an A20-Mini since June 1st. The upgrade program lasts until the end of 2022. Start your upgrade at service.sounddevices.com.
Is SL-2, SL-6, and A10-Rack antenna distribution compatible with SpectraBand?
The SL-2 antenna distro has an upper frequency cutoff of 1.7 GHz and is compatible with the full SpectraBand range. SL-6 and A10-Rack have an upper frequency cutoff of 700 MHz and are only compatible with transmitters in 470-700 MHz.
With which receiver is the A20-Mini compatible?
Both the A20-RX and A10-RX receivers are compatible with the A20-Mini transmitter.
Can the A20-RX’s two channels be set to separate tuning bands?
Both channels must fall within the same tuning band, as the brick-wall filtering comes before any of the active circuitry for best performance. With the A20’s tight intermod-free channel spacing of 400 kHz and SpectraBand’s 20+ tuning bands, there are many frequencies to choose from – typically 60 frequencies per band.
Can the A20-Mini use balanced microphones?
The A20-Mini is specially designed for small size, and supports lav mics only. For using 48V phantom, balanced mics or balanced line sources, please use the A10-TX.
What is the Bluetooth range on the A20-Mini?
Many things in the environment can affect Bluetooth range, but line-of-sight you can typically expect up to 40 feet (13 meters).
What’s the difference between the RSSI and Q-meter?
The RSSI is a visual representation of how well the antennas on the receiver are picking up a wireless microphone. The Q-meter displays the difference between the signal from the transmitter and any interference. Use the Q-meter to confidently choose frequencies which will give the best performance and range. Learn more about the Q-meter at sounddevices.com/quality-meter
What’s the difference between Standard and Long Range Modulation?
When compared to Standard Modulation, Long Range has better sensitivity. This results in more robust performance in challenging RF environments. Standard modulation has a latency of 2 ms, while the long range modulation has a latency of 3.9 ms.
Can the A20-Mini use both 2-wire and 3-wire lav microphones?
Yes, unlike the A10-TX which only supported lavs which are 2-wire, the A20-Mini also supports 3-wire lavs such as the Schoeps CMR.
On the A20-Remote app, I notice a “License” icon near the frequency I have set. What is this?
This icon is a friendly reminder that you legally need a license from your local government to operate on this frequency.
I notice that the green audio LED glows with audio no matter what the GainForward gain is set to. Why doesn’t the brightness of the LED change?
The green audio LED on the A20-Mini is a very wide dynamic range indicator and thus indicates the entire dynamic range of the microphone. It is designed *not* to change with any gain settings. This indicator is used for a quick visual indicator that the microphone is working.
When is simultaneous record and transmitting available on the A20-Mini?
A20-Mini transmitters purchased in the United States of America do not have a simultaneous record and transmit (REC + RF) mode.
A20-Mini transmitters purchased outside the United States of America have a REC + RF mode. This mode is available when operating outside of the United States.
REC + RF mode is not available on any A20-Mini while operating in the United States.
How robust is the A20-Mini’s plastic chassis?
The A20-Mini’s chassis has an exceptionally high strength-to-weight ratio thanks to its aluminum/high-strength Ultem thermoplastic construction. Additionally, each piece of the chassis is curved in both directions, imparting a very stiff geometry. All together, the chassis feels very light, but extremely solid.
Why is the A20-Mini branded as Sound Devices and not Audio Ltd?
Sound Devices and Audio Ltd got married back in 2018. Though we both speak (more or less) the same language, we live in two different houses. Now you get both wonderful groups under one simple name, Sound Devices.
How many groups can I make in A20-Remote?
You can make one custom group with any transmitters you select. There is also an automatically-created “All Transmitters” group.
GainForward
Is the Bluetooth connection being used to remotely control the gain of the transmitter?
No, there is no remote control of the gain circuitry at all. There are two advantages to this over a system which does perform remote gain control of the transmitter: a) if the transmitter is out of range of Bluetooth/remote control, the gain can still be controlled by the mixer; b) the gain can be controlled as quickly as you can move the trim knob.
With GainForward’s high dynamic range, does this mean I don’t need to have low-sensitivity lavs anymore such as the Sanken COS-11 red dot?
No, low-sensitivity microphones are still needed for very loud sounds. Lavalier microphones themselves inherently have a more limited dynamic range than larger diaphragm microphones. Even though the A20-Mini itself can handle the entire acoustical and electrical dynamic range of any lav microphone plugged into it, lavs themselves can saturate with high SPL sources. Therefore there is still a need for different sensitivity lavalier microphones.
Can I use a non-Sound Devices mixer and get the benefits of GainForward?
Yes, the A20-Mini and A20-RX/A10-RX can be used with virtually any brand of mixer.
When sending analog audio from the A20-RX/A10-RX, use the Input menu to control gain, low cut, and limiter.
When sending AES audio from the A20-RX/A10-RX, allow the third-party mixer full control of gain, low cut, and limiter. When in this configuration, set the Input menus as follows:
I’m using an A20-Mini without an SL-2 or SL-6. Can I still get the benefits of GainForward?
You can still get all the benefits of GainForward in any mixer/recorder without an SL-2 or SL-6 provided you set the output on the A10-RX or A20-RX appropriately. Please take reference “Can I use a non-Sound Devices mixer and get the benefits of GainForward?” elsewhere in this FAQ.
I’m using an A10-Rack with my 8-Series. Can I still get the benefits of GainForward?
Yes, you can still get all the benefits of GainForward in A10-Rack. Connect to the A10-Rack via Dante or AES. Set the A20-RX/A10-RX to unity gain (0 dB), then dynamically adjust the received signal level using the digital trim gain on the mixer/recorder. Full dynamic range, and zero lag level adjustments.
Can I come out of the A20-RX/A10-RX via the analog output and still get the benefits of the GainForward architecture?
Yes, provided you use the gain control provided on the receiver itself.
Does the AES output of the A10-RX and A20-RX have enough dynamic range for GainForward?
Yes, AES can transport 144 dB of the audio’s dynamic range, so it is definitely sufficient for the >130 dB of dynamic range of the lav microphone.
Is the A20-RX compatible with the SL-6?
Yes. There is full SuperSlot integration for A20-RX with SL-6 and the Scorpio mixer-recorder, meaning you’re able to control the A20-RX from Scorpio. There is UniSlot compatibility for A20-RX with SL-6 and 688. In this case, the A20-RX will receive power and send audio to SL-6/688, but control is local.
Is the A20-RX compatible with the A10-Rack?
Yes. Similar to the A10-RX, A20-RX will receive power and send audio to A10-Rack.
What’s the best practice for using A20-RX with an IFB or Camera Hop transmitter nearby?
It’s always best practice to separate your transmit and receive antennas as much as is practical. A20-RX includes robust front end filtering designed to minimize interference from strong nearby signals. We recommend placing an IFB or Camera Hop a minimum of 12 MHz outside of the tuning band. For example, if your A20-RX is set to the 562-588 MHz tuning band, place your IFB or Camera hop below 550 MHz or above 590 MHz.
What are the advantages to SpectraBand tuning?
Based on feedback from our user community, we designed SpectraBand to address two common problems, crowded RF spectrum and strong interfering signals. First, the 470-1525 MHz tuning range is unprecedented in a wireless microphone receiver. This opens up additional spectrum that is unavailable in other products. It eliminates the need for multiple pieces of hardware to cover these various frequency ranges. Second, we include robust front end filtering that minimizes interference from strong nearby signals. This allows you to work in closer proximity
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We have an extensive inventory of audio equipment for hire with competitive rates ready at a moment's notice. We pay the most meticulous attention to detail in our hire prep so you can travel to shoots with the peace of mind that you have everything you need.
For weekly rental, you can pick up your gear the day before your production shoot after 3:00pm, and return by 10:00am after your shoot day. In the case of 7 day rental, you will only be charged for 4 billing days.
If shipping is required, we require a two day minimum hire period, with a travel day inbetween.
Orders can be cancelled for free up to 24 hours before pick up date, any notice within 24 hours of the pick up date will be charged a prep fee of 25% of the total amount.
Customers will provide a certificate of insurance listing Everything Audio as "loss payee" and "additional insured".
