Derek H

Why would one use this instead of standard silicone "caulk" from a hardware store?

Yes, I realize there are specialty made cables from Canare and others for this purpose, but you're not going to fit any of them in a TA sized connector. Just wondering what most folks do in this scenario.

Here's a question that I keep wondering about every time I go to wire up a new cable for something that has multiple channels on one connector... Will this cable be prone to cross talk or other kinds of signal interference? More and more devices are using multi-pin connectors for various input/output. Take the Nomad for an obvious example, with it's several inputs and outputs on TA5 jacks. How concerned about cross talk should one be when wiring various cable harnesses for use with these kinds of connectors? For example, my Zaxcom TRX900STA150 transmitter has a single TA5 jack utilized for two channels of analog audio input.. would I be at risk of cross-talk between channels if I made a cable that ran from my mixers 10-pin Hirose jack straight to the TA5 using something like Canare starquad? As a rule of thumb does one need to stick to individually shielded, twisted pair channels (separate cables) for this kind of application? This doesn't only apply to Zaxcom. I/O on increasingly random multi-pin connections seems to be a trend going forward. Just wondering what good cable making protocol for these situations should be. Any thoughts? Any one ever encounter a specific problem in the field related to too many ins or outs on one connector or within the same cable jacket?

For whatever reason the latest, bleeding edge Zaxcom software updates are only available on their user forum. What prompts them to publish an update on their public site is a mystery. You'll notice they are quite out of date.

I'll try updating my trx900aa this weekend.. Will report any issues. I'm one of the users that was never able to update the QRX ifb board with the trx. Major pain... Thank you team Zaxcom.

Mainly I'm interested in 72MHz to see if I'll have trouble with my older Comteks.

I will likely buy one when they release the model that can do 15Hz-5.8GHz

I wonder if there's room in the STA for a hirose... It would be nice if they all could use the same cables.

Thanks Jack, are these from Mingston actually a perfect fit? I remember reading that the Zaxcom gear is pretty finicky regarding length of the plug. Hence the need for two different connectors for the receivers and the STA. Even though they're just a mm or two different

I might have to steal their custom right angle 761k design. I see that they are using the clam shell parts from a Neutrik right angle 3.5mm. Doesn't quite fit though.. Need to grind off the threads on the Switchcraft perhaps.

I just watched nearly all the Portlandia episodes this week (thanks Tivo). I noticed a fair amount of clothes rustle. Never really bothered me. Sounds like all lavs to me, and I mean that in a good way. I was kinda assuming that may be their methodology on that show since a lot of it seems to rely on some improv. I would be interested to know how they shoot the show? Multicam, type of cam, etc. May also be difficult to boom for a lot of unscripted, wide/tight, kind of shooting. Great show, my wife is from Portland so the jokes hit pretty close to home!

Another thought: Perhaps the high current draw seen with the QRX is partly due to the LED flash dance it performs when powered up? I realize the quick LED flash pattern looks sweet but perhaps is adding to this current spike and is a feature Zaxcom could consider doing away with or giving the option to control with a future firmware update. Of course, maybe the LEDs have nothing to do with the spike.

I actually like it. The switch is stiff enough that accidental bumping is not too much of a risk, especially since it's a low-profile switch and not a traditional paddle. I also like that I can use this switch to turn the unit on and off and I can avoid having to use the software controlled switches on the QRX, which require you to hold it for about 4 seconds for a power off. Worth mentioning that great feature of the QRX which remembers it's power state while running off external power.

A few months ago I was in the same boat; looking for a compact powering solution for the QRX. I ended up ruling out the Sony style L-Series 7volt batteries because of the voltage issues. Also, I wanted to avoid having to introduce a regulator into the situation. For a long time I pursued 'making' my own pack using a Li-Ion or Li-Poly pack made by Tenergy (pre-made packs and chargers sold on http://www.all-batte...tterypacks.aspx ) I ended up ruling this out as well for a number of mechanical and cable construction reasons, but I still feel like it would be a viable option if you can come up with a more robust housing. I may revisit it later. Ultimately I sourced some small Chinese-made Li-Po battery packs from a vendor in Michigan. Could not find anything USA-made that was equivalent. They are 12VDC, supposedly 4800mAH, about the size of a cigarette pack and each includes its own wall-wart charger. They include a standard 2.1mm coax connector for equipment connection and charging and has an on/off switch and LED indicator. The vendor stocks them for use with CCTV camera systems and other portable recording/surveillance gear which he also sells. So far they have been working perfectly for me, they're the right size, weight, and have been powering my QRX in single receive mode all day long with a little help from the camera op turning the unit on and off when not in use. I have not run them through any marathon 14 hr days or extensive run tests, but I did buy four of these and it's easy to carry around a spare in the bag. I've attached a few pics for those interested. The weight is low enough to allow for reliable velcro attachment to whatever surface is available. Contact info for the vendor I bought from: Dennis Gramza, qualityvideocameras@gmail.com, (616)205-5440 "Quality Video Components, INC" in Sparta Michigan. He sells online via an eBay store and an e-commerce website.

I have an older black receiver and it has the switchcraft. I've thought about asking if it could be done.

Hi fieldmixer, Did you have Zaxcom modify your ENG receiver to use a Hirose plug for DC rather than the Switchcraft? If so how much did it cost?

Order it from one of the location sound vendors to make sure.. Or be prepared to do a lot of homework looking through Lemo's well-organized, but massive product directory and catalog of data sheets. Oh fine, here are my notes from the last time I did it myself: Lemo Part for TC: FGG.0B.305.CLADxx CLADxx designates: C: Shell material - Chrome plated brass (L - Anodized Al) L: Insulator material - Plastic (T - teflon) A: Termination - solder Dxx: Size of collet. D52 = 4.1mm-5mm cable OD

If this were a fast moving gig I might be tempted to stick a 57 on the camera to channels 3&4, set the mic gain low in the menu. Keep my shotgun in my control for the interviews but might be just the trick for what you see in the photo where the camera op is grabbing that close shot of the tire burning rubber. -- just a thought. Of course then you would never know what it sounded like.

It looks great! Glad to see that it's even a little smaller than the Rycote #4 kit. Rycote must be pissed... It's good there is a new competitor though. Durability is my number one question, I'm sure it's great sonically.

I bet with about $15 additional hardware they could have added AES digital inputs on a locking miniature connector in the main body of the camera. A shame more cameras don't have digital inputs these days... It is 2012 isn't it?

My biggest hang up with using Lectros for hops is the mismatched gain structure required to avoid the Tx limiter. Requires you to under-modulate the transmitter and also deal with mic level input on the camera most of the time. I know people do it every day with good results but it always bugs me.

Any word on how the recording sounds? Is the headphone amp decent? Also, are the XLR inputs switchable between mic and line level? Thanks, looks like I may be working with this camera myself sooner than later.

I'd like to see a pic showing how you mount two SNA600s in a bag.

I agree with Jan here. Use your Mic of choice and learn to hide the cable.

I agree with the 1-2% of total value approach but what about 3-day weeks? For me, this is where it gets confusing, but it seems that all the major rental shops play this game. I do think it's a good way to give a discount for long duration rentals while maintaining a higher day rate for the gear, it also makes it all too easy for the producer to say "but last time i got a 2 day week from Joe's Rental Shack, why are you asking for more?" Where JonG stated that most reality production offers 150 per day for kit this actually seems correct if you consider this number is probably based on the 3 day week scenario that these producers are accustomed to getting (many reality shows being outfitted by large rental houses, actually 150 is probably a 2-day week rate...). Still, that represents a base rate for a set package of gear and you can't just give them everything for that rate, multi channel, dozen ifb etc.. At some point you have to call bullshit on those tactics. The worst rental rate (on top quality gear) I ever saw was from one of the "usual suspects" who gave the production basically a four day month... Duration of rental was a factor in this but jeez, pretty rough to compete with for an owner operator. Personally I charge a flat rate per day that includes labor and my basic kit which is a 2 RF, boom, and hops to camera package and then add on ala carte for everything after that. Works pretty well. Keeps things simple for the client most of the time and then clearly spells out the extra charges when their shoot gets more complicated. I also say use whatever gear you want for the shoot but don't forget to charge for what you actually end up needing. So sure, a nomad can be a 302 if that's the machine you prefer to use but it can't be a Nomad for a 302 rate... If that makes any sense! ;p