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For me, the SRB with either SMQV, or 400 series tx is still has the best combo of versatility, reliability, and sound quality. The small form factor with both batt sled and external powering options covers more bases. Most of the time these days I'm putting a hop on a C300, or some other small cam that doesn't have an option for me to tap power from. Having the SRB with batt sled you know you're covered no matter what cam you get. I still don't like the fact the the QRX doesn't have a solid battery power option. I know people are experimenting with some lithium packs, but it's just not as solid as the lector option yet. The other thing is durability. I use all Zax wireless now, from IFB to talent mics, so don't get me wrong I love the stuff, but having a receiver on a camera that has open vent holes makes me nervous. Not that the SRB is waterproof, but I feel a bit better about it. I'm hoping Zax comes up with a better hop solution soon. When they do, I'm on board for sure. 

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Hi Jeff,

 

if I had to buy new hops now, I would try out the Sony UWP-D.

 

It's very very very cost effective for Digital Hybrid[snip]

 

 

Greets! Mungo

Hi Mungo,

The Sony system is a DSP emulation of a companded system. This is basically the same setup as our 400 system running in an emulation mode for our 200 series or emulation of some competitors' single band compander systems. 

 

We asked Sony to stop using the the words "hybrid digital"in their marketing to prevent confusion. They kindly agreed to do so, some months ago.

Best Regards,

Larry Fisher

Lectrosonics

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The Sony's are decent hops but more prosumer than pro. I would look at other options first. Sony put in some kind of compression that is apparent if you A/B it with something like the G3's. Their really meant for the Camera crowd. 

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But honestly I get less and less jobs requiring hops. Double system is normal these days.

This is what i was thinking all along. To setup a hop is a lot of $, energy, and potential ways to go wrong for just two channels. If the cam has a tc input, i d rather jam it and record on my nomad.

If client insist on sound direct to camera i use two smqv's and a srb with a little custom AA battery pack.

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In my opinion and experience, the UWP D system works pretty well as a camera link. No one has ever complained. Mounting two can be a bit of a pain.....

If I had the money for an SRB to sacrifice to a camera link, maybe I would... but at this point, the UWP D works good enough with no complaints. I use the HP out for line level only cameras (with an unbalanced cable). No complaints there either.

They sound shithouse as a talent mic, although I've not used them with a mic besides the stock one they come with. The Plug On Tx is not worth your time- is has a manufacturing or design flaw that causes it to overload with very low frequencies caused from even the most subtle handling noise. If you CAN roll off at the mic, as opposed to on the Tx or the recorder, you can mitigate this problem, but it will not go away completely.

Sony UWP D, decent link, great coms. I've gotten amazing range out of these things. Better range than a comtek or a Lectro IFB. I'm sure it's not hard and fast though- I could have been operating on a ultra clear frequency in the location I was in. They do sound a little thin, and their limiter is really awful, so attenuate your Tx input and Rx output a bit, but on the whole, as far as affordable camera links go, they do the job without spending $6000 on a Lectro set up.

 

Horses for courses.

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On 6/29/2014 at 11:56 PM, Mungo said:

if I had to buy new hops now, I would try out the Sony UWP-D.

I agree, I've used it as a hop myself, and worked utility on a feature film where they were used as IFBs and for the boom op to listen too.

USB power was one of the factors which attracted it to me, along with its low price (Saramonic UwMic10/9 and RodeLink also are USB powered).

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I have a Zax two channel system for serious documentary work

I normally use a Lectro LMa and two UCR100 for drama and commercial work

Size and powering are a relevant issue

mike

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it is hard to beat AES tx to rx200 aes out or even 2 RX for 4 channel. I have been feeding Amira that way and saved ESPN, CBS sports, Showtime and FOX sports a lot of time by avoiding sync..

They are always happy to just ingest the footage and start cutting and happy to call me back.

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I've gotta agree with Rado.  RX200 receivers are among my favorite bits of kit.  It's hard to beat having two channels of premium audio, as well as time code locked to either my cart or my bag, feeding from one easy-to-mount unit with flexible powering options.  

 

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