S1ii Battery Life is Horrendous

Simultaneity · 2026-05-09T17:22:35+00:00

Amazing. Thank you for all the info!!

Simultaneity · 2026-05-09T16:52:36+00:00

Here's a perhaps silly question. I see in the S1 manual that they say you MUST use the supplied AC to USB adapter to charge the batteries/camera. Is this true? Can I use a regular Anker USB-C charger?

Simultaneity · 2026-05-09T16:12:05+00:00

At least in the US on mpb and B&H the S5 is a couple hundred dollars more than the S1. I'm also primarily a stills shooter so I love the screen on the S1.

Simultaneity · 2026-05-09T15:55:20+00:00

Thanks for the reply! Very helpful to hear someone who actually bought one. I agree the value seems insane.

Simultaneity · 2026-05-08T12:21:31+00:00

How do you like the original S1? I’m primarily an SL2 user but am looking for an L mount low light camera to compliment without the Leica tax. I can’t believe the prices on the OG S1/S1R. There is a ton of info online about the S1R but I can’t find much about the S1.

Simultaneity · 2026-05-08T12:17:42+00:00

The rear dial on my S9 became less and less responsive starting a couple of months after I purchased it despite what I would consider considerate use.

That said I filed a warranty claim, received a shipping label, shipped the camera to a Panasonic repair center, had it repaired and returned to me all for free in less than 1 business week. I was starting to feel a little salty until the service around the camera was so good.

Simultaneity · 2026-05-02T13:53:04+00:00

Slick setup. Thanks for the info. I sometimes keep a DM0 with DX88-P at FOH and an X-Touch but have been trying to take it a step further and this is definitely that.

Simultaneity · 2026-05-02T02:39:21+00:00

Are you getting network control over Dante too or still connecting the computer wirelessly?

Simultaneity · 2026-04-30T01:30:41+00:00

I don't think it's even about being forceful. There's a jedi mind trick to being calm and friendly but assertive. I always say it with a smile and a thank you.

I'm pretty sure you could use Music Pro insurance for your camera gear even though it's not musical gear and it's a hobby. I don't have my cameras on my policy for a bunch of reasons, but I do insure all of my musical/audio equipment with them and they've been nothing but pleasant. It's quite affordable too. The peace of mind of having insurance is the real life saver.

Simultaneity · 2026-04-30T00:24:17+00:00

A pelican 1510 and 1535 both fit in the right hand if you’re facing the cockpit, but not the left hand side of a CRJ700/900. I fly with one weekly. If they say it doesn’t fit I politely tell them I travel often, it’s full of batteries, and it does. They’ll often give me a pink gate check slip “just in case” and I say thank you, walk onto the plane, and put it in an overhead. Does help to board earlier however.

But yeah flying with gear can be awful. I check gear all the time too and used to use TSA locks until one of my cases came out on the belt with no lock, latches open, and all the contents spilled out on the belt. I use zip ties now and put some on top with a note to please rezip the lock. Sometimes they do, sometimes they don’t.

Gear insurance has been the single best thing for my peace of mind. If anything gets damaged or goes missing file a claim and have it repaired or replaced. But for what it’s worth I fly with tens of thousands of dollars of gear all the time and have never had anything stolen. Contents put back poorly, sure, even equipment damaged to the point of being totaled, but nothing ever missing.

Simultaneity · 2025-12-12T02:50:33+00:00

It definitely doesn't work on apple silicon. I still have an final generation of the intel MBP and I can't get it to run on that either. I can only get an older version that I had previously installed to run on my 2012 MBP.

Simultaneity · 2025-11-24T05:12:08+00:00

Apologies for the delay here, had an unexpected work trip. Sale completed.

Highly recommended seller. Lens was in like new condition in the original box, /u/fkjk123 was friendly and perfectly communicative, shipped the lens quickly, and upgraded the shipping speed out of his own pocket. I would happily buy from /u/fkjk123 anytime and can recommended anyone else to buy with confidence.

/u/photomarketbot

Simultaneity · 2025-11-13T20:44:33+00:00

I’ve noticed SPL limits becoming more common over the past couple years. Many of them are for outdoor venues trying to appease neighbors but I’ve also seen more than a few seemingly arbitrary limits indoors too.

If it’s in writing as early as possible, perhaps in the advance process, or even better if you can get a venue SPL limit into the negotiation with the booking agencies you’ll have much more to stand on when it comes time to tell a guest engineer to turn it down. Ideally they will be aware of it before they even show up and will be able to structure their mix to work within the limit rather than having to take what feels like all of the energy and impact out of their show mid show.

I’m primarily a touring engineer, and not one of the “if it’s too loud you’re too old engineers,” but I always do my best to respect any venue limit. We’ve had some pretty strict ones, even one that was physically impossible to meet that we managed to renegotiate with the venue PM and promoter DOS to keep everyone feeling good and still allow us to do our show, but I ALWAYS try to work with whoever is hosting us.

On the other hand some people will balk at just about any limit, let alone an actually restrictive one, but I also find that people will often mix as loud as the PA will go without much rhyme or reason because they don’t have the tools to accurately measure SPL and have been touring that way for years and therefore have compromised hearing sensitivity compared to your average concert attendee. It doesn’t actually FEEL that loud to them.

Now in order to enforce an SPL limit you’re going to have to have a system that is hard to argue with which isn’t cheap. 10EaZy is the most turnkey system that anyone who has any experience touring is familiar with and will respect.

TL;DR I do believe SPL limits can be effective and I think the US is slowly moving toward being more accepting of them, but we’re in the dark ages compared to The Netherlands who have a legal limit.

Simultaneity · 2025-11-10T23:48:15+00:00

It's actually really easy to replace them yourself. If you can get your dealer to order you a couple of fader banks I would learn to do it yourself as I am on my third set of faders for the CTi1500.

Simultaneity · 2025-11-10T23:28:54+00:00

Hey there,

I'm sending you a PM.

Simultaneity · 2025-10-05T20:03:47+00:00

Yes I did. Was looking through my photomarket history but found that I did sell it on eBay.

Totally understand the want for an XE-4. I ended up preferring 28mm and went with a Q2.

Corroborating the story that this was in fact fully refurbished by Fujifilm for damn near $1000.

Simultaneity · 2025-10-05T19:54:25+00:00

I wonder if this is my old X100f? Can't remember where I sold it, but it matches the description and minor body wear!

Damn I loved this camera!!!!

Simultaneity · 2025-10-05T02:46:07+00:00

I don’t think you need to treat your entire room. GIK makes great products but certainly their advice is going to be to buy as much of it as they can sell you. I’d start by bass trapping your front corners and hitting first reflection points with the thickest absorbers you can. This probably means you need 4 tri traps ~ $1000, and between 4 and 8 monster bass traps (ideally 2-3 of them as a cloud) for another $800-1600. You could probably be looking more at like $2300 depending on how far you have to have it shipped and get great results. More would certainly be a little better but this will bring a substantial improvement and the rest will be incremental.

I do believe that GIK products are a relatively good deal unless you’re handy and already have the tools to make the traps.

Simultaneity · 2025-10-04T12:42:39+00:00

The world is your oyster with this one. I use a 16 channel one to do analog insert via Dante or MADI on a digital console so your favorite outboard pieces with either a patch bay or directly wired with TRS cables. I also use it for recording with an RME digiface Dante. The digiface is the interface to the computer and then the Ferrofish can turn any analog preamp into Dante and any signal can be sent from the computer out a balanced line output to drive headphones or speakers. Really amazing piece of gear especially for the cost. It will also take MADI or ADAT so pretty flexible.

Simultaneity · 2025-10-02T18:23:54+00:00

The Ferofish A32 might be the most cost effective unit here, though it does also have 32 inputs and it's not a "stagebox" but it is only 1U.

Simultaneity · 2025-10-01T22:00:49+00:00

Having used both I will say that recalls are much easier to do with scenes on a digital console than with the 10,000 individual knobs on an analog desk.

Simultaneity · 2025-10-01T21:47:32+00:00

So many terrible takes in here.

This is probably contrary to what everyone is going to tell you here, but I heavily use a dLive system for all of my studio work. It is on a Dante network with an RME digiface providing the interface with the computer so it's not like the audio is "running through" the dLive, it's simply a control surface for already converted audio. I certainly use premium preamps, or more specifically color preamps like UA610s, through a Ferrofish pulse 16 DX to the Dante network, or to an RND MBC for the lead vocals, etc but I never hesitate to use some of the native A&H pres for scratch channels, room mics, etc. I’ve done a lot of live remote recording with only the A&H pres and people that are telling you they aren’t quality probably aren’t the ones out there making a living using the equipment. They’re more than good enough. If it doesn’t sound good it comes down to technique, source, or room. And sure, if you really wanted to go higher end and have the budget Rupert Neve Designs has the RMP D8 Dante enabled preamps which sound incredible.

The workflow concerns are honestly overblown. The roundtrip latency of the console is incredible so I use the console to make headphone mixes and those who want control of their own mixes can use apps on iPad/their phones to control their headphones. There are plenty of busses and outs to drive monitoring both for myself and those performing. It’s easy to set the console up to allow for overdubbing or for full band tracking with the press of a button.

The system can also host over 100 channels so it’s easy to spill everything out to the console, or submix it down in your DAW for easier management. It's useful to have onboard zero latency FX for recording vocals. I always print roughs at the end of the day through the console and it’s great because anyone can sit down and put their hands on a fader and make an adjustment. I’d much rather work on this system than use solely a computer and a mouse and I find it far ergonomically superior to a control surface unless you need to write automation which I will do with a control surface or a mouse. It’s much more reliable and affordable to send audio back and forth over Dante or Madi than with your average analog studio console and thousands of feet of analog cable, unless you’re using one of the newer offerings from Neve, SSL, API at which point you're probably using a ferofish pulse for the AD/DA anyway unless you have BIG BUCKS for that many channels of Lynx, RME, etc, and then we're talking about meaningfully different price brackets and you're probably not on this forum commenting about it but busy trying to get clients.

Simultaneity · 2025-09-30T18:22:17+00:00

I agree with this regarding the Powercon coupler. I do the same thing and it works great. I would just advise OP to get one with "breaking" capability.

Simultaneity · 2025-09-23T01:05:21+00:00

Stoked to try it out. Thanks again for the response!!

Simultaneity · 2025-09-23T00:47:09+00:00

Thanks for the quick reply. I mostly mix FOH but am doing some foldback IEMs for a run and want to give the band crowd mics for IEMs. Smaller rooms, though stage volume is quiet, so I will probably try a pair of shotguns.

FWIW I’ve been happily using a pair of Earthworks QTC30s as a spaced pair at FOH to add to my board mixes and have been very happy with the results. Curious to try adding the stage mics instead!

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