Constantin

When you send the unit to Trew (or someplace similar) in Canada and they can't repair it, they would send it to Zax. There is a way to send something across borders, without incurring duty, legally. It's specifically for repairs. It's similar to a Carnet and you could also try doing the paperwork yourself or let Trew and then Zaxcom (for the return) deal with it. Besides, I am pretty certain that owning the receiver is not a problem. Glenn said that only transmitters are a problem. So your QRX receiver should be fine

Maybe instead of Pindrop's rather nauseating test, try it in front of a fan, if they have one at Everything Audio. Makes it easy to compare with the Classic. - if you get the chance. But thanks for the review so far

Lots of advising going on. Anyway, back to the DR-60/70.

I did that, btw., just to be sure before I posted. While Rycote does list an extension as an accessory for the WS4, they don't do so for the WS2. But it is shown as part of the modular series. But anyway, thanks for confirming, now the OP can go ahead with peace of mind

I don't question the advice itself, only the reason for dispensing it. And you did assume that Jez (who, from what I've read here, is an experienced recordist) actually needed your advice

No one said anything about unbaffled. You just assumed that. Key here is "half decent atmos"

Maybe not the best, but one of the smallest. I for one wouldn't agree with the assessment anyway. DPA make a surround mic themselves which they base on the 4060 (or 4061) capsule. I have done very simple surround recordings with 4061, using myself as a baffle. But the mics are also separated by distance, so there will be some 'surround'. And in any way, I don't know what kind of contraption Jez is using with his mics

From what I have heard about this situation (a lot of that in this thread), Zaxcom isn't really combative at all. They have brought something to Tascam's attention, and apparently, Tascam agreed that there was a potential problem and voluntarily withdrew their product. Both companies are acting like adults. It would be negligent of Zaxcom to just stand idly by and watch a possible copyright infringement of one of their products. Zaxcom would get into deep trouble with their owners, investors, employees, and whoever else (I don't actually know their structure). Besides, no one here knows (or admits to knowing) what this case is all about. So there is not much use in speculating about it and drawing conclusions from that speculation about a company's business practice

You should probably double check that, though. Rycote doesn't advertise the extendability of the WS2, but it's the same diameter as the WS4 and the fittings are the same, so it should fit. Chris Woolf who is a designer for Rycote is a regular here, you could pm him. Or of course, ask Rycote.

I suspect that not many here know the SuperShield yet, as it is fairly new. I would like to +1 Robert's suggestion. The Rycote WS2 with fur is very solid and most likely all you'll ever need. It's extendable, too, if you need to fit a longer mic. If the regular fur isn't enough, you can add the windsock. I once recorded a car driving doing 60 mph with the mic mounted on the roof. No problems with wind

You mean they would deliberately keep it until the approval has been obtained? That seems highly unlikely. I remember one of those Zaxcom repairs in Canada threads and I seem to remember that Trew Audio would be able to carry those out

Sorry you feel that way. It was certainly not my intention to sound like a smug know it all (I don't know it all). In fact, I was trying to answer your question, while also pointing out where you went wrong. If you found your answer elsewhere, that's great. If you had said that you were new to this you could have said so, maybe my response would have been different. Your question didn't really concern location sound, though. You obviously haven't read a response from Senator, yet. His would have been much harsher. Anyway, in the spirit of the holiday season, I apologize if I offended you

What happens when you try it? If you're reading in the manual about +4 and -10 levels, you are not reading about the digital outs. If given a choice between a pro and a consumer setting, always go with pro. Sorry if my reply sounds like I'm trying to be a substitute for the Senator. So let me add this: There are no dumb questions. However, a question can reveal your level of knowledge. That is, after all, why you need to ask it. In the manual of the 702T that I just glanced at, there is no mentioning of +4 output level, but in any case, those level settings are for line level (i.e. analog) outs. You're asking about the digital outs which can be either S/PDIF or AES3 on the 702. The former is considered a consumer format and the latter is a professional format. They are very similar formats, but one of their differences is not a difference in level. If you want to go into your Lynx using its AES inputs, you should also use the AES outs on your 702. since you have all the equipment nearby, as you said, you could of course just try it out and see/hear what'll happen. You certainly won't break anything if you use a wrong setting. Since you professed in another thread to know all about the A-D and, presumably, D-A process, you probably knew all this anyway, but it is for the benefit of other readers who may not

Ah, I didn't get that. However, it actually doesn't matter as long as there is a backup for both. As I mentioned, I have the older Meon as a backup for the newer one, abd I have the Remote Audio power supply (PSHOT, I think) which I can plug into the HotBox. It doesn't really make a difference if your charger, battery or distro fails or all at once. Just have the aproppriate backup ready

The above post is precisely one of the many reasons why I like Lectrosonics so much. Products and company. Others might have taken the opportunity to take a swipe at the other two companies in this thread, but not Lectro. Only compares his own products, which are not even made anymore. Thank you, Larry

It's a weight thing. For me anyway. The Cyclone without a windjammer is much lighter than a regular windshield with windjammer. Plus handling noise issues are much better - supposedly

I actually use a HotBox with the Meon, so I have it kind of separated, too. Anyway, it's down to personal preference. But From my experience, I can say, that if you think the Meon Life is for you then buy with confidence.

Just fyi the Sennheiser G3s have dual antennas, too. Not sure what it is you don't like about the G3s, but either of the other two systems you mention won't be much of a step up, in fact many believe they'd be a step down. Just rent all three systems and compare them yourself. Since this is also about sound quality, only you can find the best system for you

Well, it seemed like you didn't. Anyway, good for you.

Greg, is that a Meon or a Meon Life? The Life is totally different. I have owned and used one with the Life 20 for a few years now and it's been working very well. I have not heard about any recalls and have not sent it back as yet. Personally, I like that battery and distro are in one box as it saves space weight. I have a Meon V2 for backup, but have never needed it.

Preamps are always analog. Frequently followed by an A-D converter as an integral part of the inputs. And no, the 744T has no direct outs (what for? It's not a mixer), but you can route an input straight to an output, but... still converting to analog

Of course the analog out are not "before conversion". How would that be possible?

Maybe he has heeded your advice to post a little less and make it an early New Year's resolution? Anyway, personally I wouldn't mind for him to return - in a less frequent basis. And the tone in this forum has softened considerably in the past two weeks. But that could be the holiday season

To be clear: I was responding mostly to post #105 where Philip Westbrook is expressing the hope for dsp processing and VST plugins to be used right on the recorde, to perform audio post tasks. I don't mind the ability to record my fader moves or EQ settings as metadata, but that's something different.

Video editors shouldn't be doing audio post either. With you hope for dsp processing/additional metadata or whatever you are not helping the assistant editor, you're not helping the editor, you're not helping audio post and you're not helping yourself. You're only helping the production company save money. At your own expense. Even if you were to only use it on charity productions, once the technology is there, other productions will want it, too, even those with money. First, they'll shorten the budget for audio post, next they will eliminate it altogether, all the while expecting us to do more and more post work