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let’s wait and see. I am skeptical about specs and actual numbers. 745 has better battery life than my 743 but still nowhere near what it is needed in my workflow. . As I mentioned I power with Sony Ltype Lithium. When I used mzd8000 with 8040 and 8060 I never cared about the battery power. Usually with medium battery.

The slate app looks hopeful. I understand it is in beta. I see i can sync the slate clock to my phone clock. Are you investigating the hook for polling the Tentacle time bar app? Also, is your slate clock really 24fps or 23.98? 23.98 is far more useful in the states. Thanks for your efforts.

https://www.instagram.com/brycegonzales/?hl=en

My numbers come directly from Schoeps and Zaxcom, because that is the equipment you say you want to use. Why are you so hung up on the MZD8000? If you want to use that ... buy a used one and do it that way. But don't equate it to the CMD42, which has published specs. Yes, SuperCMIT uses more power. 170mA according to Schoeps. It has a second capsule and a whole bunch more DSP, so no surprise there. And the MZD8000 is rated at 160mA, so on paper the CMD42 will be better than both. But all three are power hogs compared to analogue. Yes, I'm using AAs with the 745. So what? Battery life will be drop commensurately no matter how it is powered.

Dan, even I might actually have an unused Petrol harness, still in plastic bag in my storage. I’ll take a peek tomorrow and send you a PM if you like.

Your numbers are off judging by the mzd8000 experience. it’s true I removed the 6 micpre converters from nomad but I did not loose any noticeable power. let’s wait and see. third of the power from using aes42 seams a crazy. Judging by mzd8000 again by the way I believe supercmit uses more power. Are you using trx745 with AA???

So after feedback I ended up forking them so one is more a field sound recording notes app and then a more advanced slate type reporting app here: https://soundrolling.com/blogs/sound-tools/simple-timecode-slate Then you can add more metadata and takes either device time or from 00:00:00:00 rolling. With the one first posted you can now add location data if you want to so you can easily document where you have taken the sounds in the export

Hello, I also own the Nagra IS version of Danish Radio. In my unit, in the place of selecting the tape speed, there is a cap, instead of a switch. Does this mean that, as in the previous thread with ALC, there is no way to switch the speed, or is it just a safety feature and plugging in the right knob could help? Thank you for your help Michal

Alright so I went with the Ktek standard sized stingray harness. So far it seems great! My old Petrol bag isn't the most ideal bag to use with it, because it doesn't have hooks on the upper corners against the body, but it does have two sets of hooks so I think it will work. I am thinking I should install some hooks on those corners. Maybe just some steel loops or something bolted there. I've got a job starting Thursday where I'll be running and gunning so that'll be the true test. Most of the weight lands where my lower back connects to the waist. I don't really feel it on my shoulders too much. I really appreciate the design of the carabiners, the fact that they have the little nib on the big curved part instead of the straight part. It's actually much easier than the Petrol harness. Also I quite like the six points of attachment. It is a bit of a process to connect, but there is that "shortcut" of leaving one side fully attached. The standard size fits great, but yes most of the straps are pulled out a bunch. I did raise the spine part to the topmost position. I will say that the chopped up kids shin pads really did the trick on that old Versaflex! I wore that and walked around for a couple hours without rest yesterday with that set up, and my shoulders and back feel totally fine. I did not have to do any overhead booming, which is good because then those pads would have pushed into my shoulders. Right now the bag is sitting at 26 pounds, but with all the stuff in it it is more like 35 pounds. I just don't do enough of these small bag jobs to justify purchasing a whole smaller rig. I do have a Nomad but it is installed in the big cart as a back up deck. I suppose I could pull it out; I do have a smaller bag for it. But I would (always, every time and forevermore) much rather use the Deva so I'm gonna "big bag" it as long as my body holds out! That beefy Portabrace would have likely been the best candidate. I like the look of the Portabrace way more than the too-colorful Orca. (Sadly the timing was bad to get Jim's Petrol.) Thank you everyone for your replies!

Maybe "digital" doesn't, but the CMD42 does. The CMD42 manual specifically warns about it, and the published specs reflect that. As does my experience with the SuperCMIT ... it cuts battery life on the TRX745 by a bit more than a third. As for whether it's worth it ... that's subjective ... I don't think it is. And I think it does matter in the recorder. Zaxcom specs the Nova at 1A @ 12V with 8 channels of Rx, which is 12W. The MRX414 modules each consume 300mA @ 13V, or 3.9W each. That means the recorder itself consumes 12 - (2 x 3.9) = 4.2W on its own. That means a CMD42 will increase the power consumption of the Nova by almost 30%, whereas a CMC6 will increase it by less than 5%. I agree, let's wait for real world performance tests, but, on paper, the CMD42 will noticeably decrease battery life however it is powered.

It does. But digital does not use that much more. And the extra power is worth it for all the advantages… It does not matter going in to a recorder. Let’s wait for real world test on a wireless.

Yup. And the CMC6 is 4mA @ 48V. Which is 6.25x less power than AES42, not 3x more. Like I said, analogue phantom uses way less power.

The AD analog pad and digital filters are designed for the the schoeps capsules by schoeps. Huge advantage. The conversion is 100% perfect. The filters are custom designed by schoeps to work with schoeps capsules. Actually they are custom for each capsules. Also there was an easter egg in the manual about capsules with memory. Huge potential. Don’t worry about the low cut being in a digital domain. The analog front end/AD converter freq response is 8 Hz - 96 kHz. It also captures the full dynamic range. of the capsule regardless of digital gain. In fact the ideal use will be recording both the RAW signal and the digital gain adjusted one. It seams the power is 120 mA at 10 V “AES42 phantom voltage”.

I am impatient to hear how does it sound and curious to hear if mini preamp and converter embedded in a mike body would sound better or as good as those in our high range recorders. Though I am pretty optimistic that it could be better for wireless boom with any tx that accept aes input I wonder if it would be the case for lets say a Sonosax preamp+converter. As per the mod2 features of AES42, Like low cut filters, I do not yet understand the benefits over those of the recorders since they will be applied in the digital domain, unlike a CUT1 that is applied before mike preamp and makes more sense preventing preamp or converter saturation.

Very quickly. The cmd42 will deliver the most dynamic range and sound quality compared to any other combinations. when I used mzd8000 my mkh8040s and mkh8060 sounded noticibly better going digital. I don’t know what Schoeps said about it. This will replace my cmc6. Ans if you like a wired booms the cmd42 is your best choice. Goes to 1000 feet interference trouble free on a cable. Guaranteed 964 feet.

I think it is important to separate what type of projects someone is doing, before we start to analyse the pros and cons for CMD 42 and recorders in general. Is it reality? Is it feature film? Is it documentary? Is it field - atmos? As Schoeps wroted - said; CMD 42 is not meant to replace something of what we know (and use). In my world, which is feature films and television drama; the POV is about dynamics and the handle of it. Is about "matching" the frame correctly. Ironically, the industry has been pushed - forced; the production sound dept. to run everything wireless; so mic preamps make less sense (in recorder) and as back-up feature. And here comes about "dynamics", and the problem with current workflow; where you have to manage the distance of the mic position (aka the boom operator), the mic preamp of transmitter, the trim and finally the fader (which end in director headphones or to the person which pays you). Word: "Breath". The main advance of cable from boom to recorder with mic preamp is one: Mic can "breath", Production Sound Mixer can handle the dynamics much more better. As Jeff Wexler said before, here, many years ago; the trim and fader becomes - act as first stage of compression. Now the "trim" has been far away from mixer hands and live in a boompole (eg. transmitter). The feeling of touching the trim and reaction, has been eliminated (in some way). Form of Art the PSM work; which nowdays is more about logistics aka "do you have 16 wireless and wire them all without a reason; because maybe will have a line, maybe not; just for sure; we don't know" without knowing the departments outside from PSD (Production Sound Department) why we will need a wireless lavalier even without spoken dialogue. And everybody knows - feel what I am talking about "dynamics" during a scene and what's the cost of: 1. Boom hardwired to recorder. 2. Wireless Boom - Managing multiple "steps". Even if you are a Boom Operator. So, the question to me is: Can the CMD 42 deliver the same sense of dynamics, minus dealing with the "compression" because from soft to loud (and vice versa) is a thing which the post production deal (with speakers, not headphones; in theatre) and hear our mistakes (aka mic position - mic preamp setup in Tx - trim and fader position) in such scenes / frame; where two (or three) persons "dancing" (aka PSM & Boom Operator -s)? Pretty sure, Simon Hayes can speak about it; since it was a beta tester; if it's still here.

Nice!

Maybe try the new magnetic ones. I just ordered a few.

Thanks for the suggestions. The decision was made for me and the book is Sound Design for Moving Image by Kahra Scott. Not my first choice but I will try to make the most of it.

Yes, they tear up the battery covers over time. I have had some of the holder's retention tabs break off as well, so those batteries can easily fall out.

It’s worth noting that Storacell, the maker of the tubular battery caddies, listened to feedback about tearing the labels off rechargeables and now offer a magnetic caddie that doesn’t tear the labels. I haven’t tried it but someone should. https://storacell.net/collections/magnetic-caddies-1/products/magnetic-aa-8-pack?_pos=1&_fid=183dd515f&_ss=c

I don’t love the plastic tubular ones anymore. Sometimes they tear the battery covers and they don’t hold enough cells. These plastic boxes are actually free at Home Depot if you buy 48 disposables. You can also buy empty ones on Amazon. I much prefer them and it’s very clear where your live/dead cells are.

Also from old(ish) days, the microtrack (both models) had spdif digi in, which could be a great feature along with its size and cost. AES would have been better of course, but I don't know of any mini consumer recorder with AES in/out (and precious few non-mini ones). For me it was a great shame neither the F4/8 nor SD MP3/6 had AES I/O. J

that's a nice & useful tool you did there. cheers ! Already trying to add this to my workflow. and it could be useful as well for some documentary directors who take notes during the takes. fo improvement, I wonder if there's a way to have an accurate tc lock with , say, the tentacles or the deity tc boxes ?