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talent freq vs hop freq?


alenK

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Hello,

 Thanks for the replies. The idea that a close proximity of a transmitter to a receiver may be problematic seems easy to agree with.

 It's hard for me to remember which posts suggest using a higher frequency range for camera hops. I did not pay much attention or realize that I was seeing the idea suggested repeatedly until after I became impressed with the idea that I was seeing it repeatedly. It is possible that I have read a particular thread multiple times and now mistakenly think I have seen the idea repeated more often than it has been.

 I guess if there was a technical reason then people might recognize my question, and if there is not a technical reason than the whole idea may be a figment of my imagination.

 Thank you.

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20 minutes ago, alenK said:

Hello,

 Thanks for the replies. The idea that a close proximity of a transmitter to a receiver may be problematic seems easy to agree with.

 It's hard for me to remember which posts suggest using a higher frequency range for camera hops. I did not pay much attention or realize that I was seeing the idea suggested repeatedly until after I became impressed with the idea that I was seeing it repeatedly. It is possible that I have read a particular thread multiple times and now mistakenly think I have seen the idea repeated more often than it has been.

 I guess if there was a technical reason then people might recognize my question, and if there is not a technical reason than the whole idea may be a figment of my imagination.

 Thank you.

Alen, Maybe it was just someone's way of remembering? So they could keep them separated?  As in, I see what the hop is, so I just have to keep everything below that? In other words, leaving out actual frequencies, if my hop is on 20, then I know I have 1-10 available for talent. 

Where as, if I have my hop on 10, then I can't get farther away using 1-9, or 11-20 for talent.

Sincerely, Martin 

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I guess I was reading too much in to it and thinking that there was perhaps a technically inspired strategy to prioritize the talent signal reliability over the camera hop.

I was imagining that harmonics, reflections, and possible intermod problems attributed to the lower frequencies may step on the camera hop with less repercussion than having the camera hop cause mishaps with the the talent signals.  

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17 hours ago, BWilson said:

Someone did mention that due to intermod calculations that it seemed better to have talent in a lower block and IFB's and links in higher blocks. I think it may have been one our European clan

That may have been me. Anyway, Larry gave a great response here:

 

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Thank you for the comments and posting the link.

It is obvious to me that I don't think about the actual frequency value enough because Larry's comment about the first harmonic being beyond the entire UHF range we work in was a revelation..

For example;. 2 x (the lowest frequency available to us) > (the highest frequency available to us).

I have never considered this specifically but now it seems obvious.

The information about inter modulation between two blocks was informative but I reminded myself that as you add frequencies the interaction gets more complex and this is a reason for considering pre coordinated frequencies as suggested by the Lectrosonics page: http://www.lectrosonics.com/europe/images/PDFs/precoordwebver.pdf

The more I thought about that I realized that Larry's advice "set up a test situation with transmitters at real world distances, both near and far, and make sure everything operates the way you think it should" is the best way to address my concerns.

 

Thank you.

 

 

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Yes, of course, using pre-coordinated frequencies is very important, or use a receiver which can find a good intermod free frequency on its own.
It's good advice to test your system on its own, but every location has a different rf environment, so scanning for free frequencies first is very important

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