I'm looking for recommendations for a comfortable XC bike.

At the moment I'm riding a 6-year Orbea Oiz with a 100 mm Fox suspension setup. It's been a great bike, but it's getting old and is starting to need a lot of replacement parts.

One of my biggest issues is wrist pain, so I'm looking for a bike that is lightweight but, above all, comfortable, the complete opposite of a race-focused XC bike.

I've recently demoed a few modern XC bikes, and my main complaint is that they all feel too stiff. I'm not sure how to describe it, but the combination of 34 mm forks, heavily reinforced frames, and integrated one-piece cockpits seems to transmit every little vibration straight into the handlebars. That's exactly what I'm trying to avoid.

Ironically, I actually find my current bike, with its Fox 32 fork and relatively slim carbon frame more comfortable than most of the latest XC bikes.

I'm not interested in riding aggressive technical trails or bombing downhill sections. I spend most of my time on forest roads and smoother XC terrain.

I've read that the new Orbea Oiz has a very aggressive, race-oriented geometry and handling, which is probably not what I'm after.

Another requirement is that I'd like both the fork and rear shock to be Fox. In my experience, Fox suspension has a noticeably smoother, more supple feel than RockShox.

I do ride a lot of gravel roads, but I'm not interested in a gravel bike. Without front suspension they feel too harsh and fatiguing over long rides, especially with my wrist issues. On the other hand, many of today's XC bikes seem to be designed with World Cup-level descending in mind. It feels like there's no middle ground anymore, and the number of genuinely comfort-oriented XC bikes has become very small.

So my question is: what bike would you recommend me?

I've been putting off buying a new bike because, honestly, I haven't found anything on the market that seems to fit what I'm looking for.

Thanks!

For live sports commentary from remote locations, what are the real advantages of using a dedicated hardware audio codec (e.g. Comrex) versus a laptop + audio interface + Discord (or any WebRTC similar option)?

With a decent interface and OPUS-based audio on Discord, the cost can be less than 1/10 of a hardware codec. I understand there are more moving parts and potential failure points, but in real-world use (often over Starlink), is there a noticeable difference in reliability, latency, audio quality, packet loss handling, or recovery from network issues?

For those who have used both in broadcast environments, does a hardware codec provide a meaningful advantage today, or has modern software largely closed the gap?

Thanks a lot.

We have some critical Windows machines in the control room. How do you deal with windows update and specially the IT staff who wants to update the machines as soon as possible for security reasons. They do not understand that some software is critical because it is used in live environments. We need to plan the updates and check software compatibility first. We need control, we cannot delegate it to IT staff who know nothing about the live requirements.

Any tips? Recommendation? how do you deal with IT security staff?

Thanks a lot!

Hello,

I need to update some PTZ cameras to the last firmware version. The cameras are critical cameras and I hesitate to update in case the process goes wrong. I would really like to have a backup of the current firmware in case I need to roll back. Is there an official Panasonic firmware repository with previous versions?

Thank you.

Hi!

I’m currently looking for a PTZ camera to use as a beauty/specialized shot camera for our motorsport broadcasts. Our workflow is REMI-based, and my idea is to receive the camera feed via SRT and operate it remotely over VPN using preset positions. I’m aware of the latency, so the plan would only be to move between preset positions.

My search has narrowed down to these two models:

• Panasonic AW-UE40
• Canon CR-N100

I also know that these entry-level models are not especially good in low light, but that’s not a concern since they would always be used outdoors. I’m not interested in auto-tracking features at the moment.

What I do care about is outdoor image quality and web-based control. I also don’t need SDI outputs (I’ll be using SRT), but I do care about smooth camera movement and proper acceleration/deceleration during PTZ moves.

Panasonic PROs

• 24x optical zoom (vs 20x on the Canon)
• More experience in PTZ cameras over the years (Canon is relatively new in this market)
• More detailed Matrix color control

Canon PROs

• Slightly larger 1/2.3” sensor (vs 1/2.5” on the Panasonic)
• Cheaper

The Panasonic is a bit more expensive, and I’d like to know whether it’s really worth the extra cost. Which of the two models would you recommend?

Thanks!

How can I lock microphones so that the audience cannot turn off the handheld microphone?

• Tried auto-lock ON on the mic menu: it only locks menu, not power on/off switch
• Tried locking on the receiver menu (menu&power) but when the mic is switched off it does switch off

Any ideas? I didn't succeed in disabling the ON/OFF switch

Thanks.

I am working with a small event setup using a Yamaha TF1 digital mixer for an auditorium.

We currently have two simultaneous audio outputs:

• FOH (main PA system) in the room
• YouTube livestream via vMix

Current setup:

• Microphones go into the TF1.
• FOH mix is controlled via the MAIN LR output.
• For the livestream, we send audio via AUX 3 from the TF1 into a Behringer UMC22 interface, which feeds vMix which streams to youtube

Problem 1: Fast gain control affects both FOH and streaming

The main operational issue is that FOH and streaming are effectively two separate mixes.

For example:

• When someone from the audience asks a question, I need to quickly raise the microphone level for FOH (MAIN LR).
• At the same time, I must also adjust the corresponding AUX 3 send level so that the microphone is audible in the livestream.

This makes live operation slow and error-prone because I am constantly adjusting both FOH faders and AUX send levels independently. Is there a better workflow?

Problem 2: Monitoring the livestream audio

• I monitor FOH using the TF1 monitor out with speakers
• I monitor the livestream using the headphone output from the vMix PC.

This forces me to constantly switch between both

I have also tried using CUE/AUX monitoring from the TF1, but this does not reflect the true processed livestream signal (vMix processing, encoding, etc.).

Is there a better way to monitor the actual livestream output directly from the TF1, or in a more integrated way, without constantly switching headphone sources?

I am considering improving the setup using:

Possibly integrating Dante Virtual Soundcard on the vMix PC for better routing and return audio.

Thanks for your tips!

*************************************************************************************************

EDIT: there is no chance to use two separate audio desks and two audio technician for the moment.

Try1: I tried setting the AUX3 as POST-FADER but does not work, when a fader is changed on the layer 1, it remains unchanged in the AUX3 send. They are not "tied".

Try2: Not sure if it's a bug or not, but when I change i.e. the GATE effect in one channel, go to other channel and return, my changes on the GATE effect are not saved. It's very weird...

I am working with a small event setup using a Yamaha TF1 digital mixer for an auditorium.

We currently have two simultaneous audio outputs:

• FOH (main PA system) in the room
• YouTube livestream via vMix

Current setup

• Microphones go into the TF1.
• FOH mix is controlled via the MAIN LR output.
• For the livestream, we send audio via AUX 3 from the TF1 into a Behringer UMC22 interface, which feeds vMix which streams to youtube

Problem 1: Fast gain control affects both FOH and streaming

The main operational issue is that FOH and streaming are effectively two separate mixes.

For example:

• When someone from the audience asks a question, I need to quickly raise the microphone level for FOH (MAIN LR).
• At the same time, I must also adjust the corresponding AUX 3 send level so that the microphone is audible in the livestream.

This makes live operation slow and error-prone because I am constantly adjusting both FOH faders and AUX send levels independently. Is there a better workflow?

Problem 2: Monitoring the livestream audio

• I monitor FOH using the TF1 monitor out with speakers
• I monitor the livestream using the headphone output from the vMix PC.

This forces me to constantly switch between both

I have also tried using CUE/AUX monitoring from the TF1, but this does not reflect the true processed livestream signal (vMix processing, encoding, etc.).

Is there a better way to monitor the actual livestream output directly from the TF1, or in a more integrated way, without constantly switching headphone sources?

I am considering improving the setup using:

• Possibly integrating Dante Virtual Soundcard on the vMix PC for better routing and return audio.

Thanks for your tips!

If you had to work with just one of them for indoor interviews, which one will give me the best possible quality?

DPA6060 wired lavalier

or

Sennheiser MKH 50?

As one-man-band, the lavalier is much easier to deploy.

Hello,

I’m looking for reliable battery-powered portable LED lights for indoor interview setups. I don’t need extremely powerful fixtures, but I also want to avoid very small lights. The priority is soft, flattering light, fast setup, and easy deployment on location.

At minimum, I need a key light and a backlight/hair light setup.

I’m not interested in cheap brands. I’m looking for dependable professional gear with good build quality and reliability.

Any recommendations (Brand and specific model)? Thank you.

P.D. Using Sony FX3A as the main camera if that matters.

A while ago I posted here asking for advice on how not to get so tired while swimming. I got some good tips, but I still felt exhausted and couldn’t understand why. Today I finally figured it out: the problem wasn’t my technique or breathing, but the fact that I was kicking way too hard and wasting a lot of energy.

Since I’m a cyclist, I have strong legs and was unconsciously using an overly powerful kick. A friend pointed out that I was kicking excessively, so I tried swimming with a pull buoy and barely kicking at all, relying mostly on my arms. The difference was amazing: I went from struggling to swim 50 meters continuously to being able to swim almost nonstop for a long time.

Now I’m trying to learn the two-beat kick, but it’s hard to relax because I’m so used to a strong continuous kick. I also have one question: how exactly should the two-beat kick be coordinated with the arm stroke? Some videos say the kick should match the opposite arm, others say the same side. And when should the kick happen, during the pull/push, before it, or after it?

Thanks a lot for your help!

Edit: very good tips here. Thank you all.

Does anybody tested this iPad app in a VPN to remotely control Sony cameras? Imagine a REMI situation where you could (theoretically) shade them. Could be a replacement of Cyanview workflow? Thanks.

Is it really possible to exactly color match Sony and Panasonic cameras? Using the colour matrix settings and a chart? Not in post, but for live production.

Thanks.