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  1. Sadly I can't make it this year. I actually need to figure something out for it because I'd love to get a table for people to get a demo. I need to find someone I can hire for a couple of hours and send them a salesmen sampler kit and a table cloth. Know anyone? I will be in Dallas that week meeting with new dealers and a trade show there. I will say when it comes to comparing different 2.4Ghz systems (pros and cons) it seems there is some miss-information about 2.4Ghz and other systems. 1) 2.45Ghz is not the resonate frequency of water. 2.45Ghz was selected due to space on the FCC allotted spectrum and industrial microwaves found in professional kitchens operate at 915mHz. http://www.schoolphysics.co.uk/age16-19/Wave properties/Wave properties/text/Microwave_ovens/index.html https://physics.stackexchange.com/questions/169362/why-do-microwave-ovens-use-radiation-with-such-long-wavelength 2) Not all 2.4Ghz microphones systems are the same. When it comes to high-frequency waveforms it's all about getting the maximum efficiency for getting the signal out of the antenna and the maximum efficiency at collecting the signal along with handling data drops. Based on what manufactures in the past have given their 2.4Ghz systems vs what they've given their UHF, you'll see that they've crippled their 2.4Ghz systems to create a tier system within their product line up. Azden XD-Pro : SMA dipole whips 4.85mw RodeLink Bodypack Tx: dual PCB fractal antenna 10mw Rodelink XLR TX: PCB Fractal antenna 8mw Rode Wireless Go: 3.5mw (unknown antenna) Sennheiser XSW: 8mw dual PCB fractal antenna Line6 Bodypack TX: 24mw, affixed dipole whip antenna Deity Connect: 100mw Dual PCB factual & Dual SMA dipole whips 3) Here is a breakdown of the Pros and Cons of 2.4Ghz and some of their protocols Pros- Bi-directional communication (can be) frequency hopping and (can be) automatic frequency coordinating Future Proof against FCC auctions Global Traveler 100% digital (can be uncompressed) Can allow for data re-transmission and buffer Cons- Smaller waveforms do have a harder time penetrating metal and dense surfaces like exterior walls Codec decoding can add latency Requires more wattage to get the same range as a lower wattage UHF system The frequency can be crowded depending on the environment (but so can single block UHF) It really comes down to what you need your wireless to do. If you're doing a lot of corporate, ENG, HGTV reality or travel documentary work, a 2.4Ghz system might actually fill all your needs. If you're doing a 20 person reality TV show or a multi-million dollar movie, probably not. I'd say personally 90% of the work I've done in my 15yr career could have been done with wireless microphones that only ever needed to transmit no more than 20-30ft away.
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  2. Just was thinking about your post when I saw this popping around in the Audio ltd users group 😁 (in case it is unreadable, A10 TX, made in Taiwan).
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  3. Regarding the 32-bit vs 24-bit (as well as recording in higher sampling rates), I always like to quote the following article: https://people.xiph.org/~xiphmont/demo/neil-young.html Specifically, the paragraph below: While I think the idea of 32-bit float recording is nice in theory, I also don't think it's a necessary feature for production sound recording. In fact, it may create more confusion and issues in post, particularly when the AE ingests our files and syncs them, and they see that dialog ins't gain staged as normal (or at least it wouldn't look good if I'm having to explain why gain staging properly didn't matter since they're 32-bit float files to the producer and/or editor who are calling me inquiring about them). 24-bit provides enough dynamic range to capture the entire usable dynamic range of any microphone (from above its self-noise to its Max SPL). IMO the only place where higher dynamic range (and higher sampling rates) is really useful, is in post, for DSP. I'm sure for consumers and prosumers alike, the idea that they can record in 32-bit float files and not have to worry about properly gain staging during recording (the whole "fix it in post" mentality) may sound like a great thing. For the rest of us (or at least for me), I think while cool, not really needed.
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  4. We're all showing up in just pink shorts, right?
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  5. Well, not retuning exactly, it's more an instant re-clock
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  6. I’d love to see a review of the Duo on a camera next to a Terradek spewing out 2.4 GHz noise. For me the real value of the Deity wireless would be as a camera hop as it is less likely to be effected by body absorption. But if the receiver is likely to be slammed by RF spew from a Terradek then it could be a big issue. Basically every time I use a wireless camera hop there is also a wireless video monitor so you can expect this to be a common setup.
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  7. I just pulled the trigger on some B3s to replace my very used MKE-2s, as in "used on Broadway and then retired" kinda used. Looking forward to minty fresh mics! For the gigs I'm doing the B3s should be fine at half the cost of the COS-11d.
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  8. I am in line to find this out. Just completed my order for a nova and 2x 212's. Now the wait begins... this thing crosses of a lot on my list when it comes to my particular workflow. Hoping this all in one unit really does the job indeed time will tell. I should be able to give some input on these exact scenarios above - qrx whips vs mic plexer vs dipoles vs nova whips vs nova dipoles in real world comparisons
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  9. All true, but it also depneds wchich "ARRI" you are exactly referring to. Alexa "Classic" (which basically boils down to everything but Amira and AlexaMini - MiniLF to be seen, as this is a weird hybrid of Mini and LF (A.K.A "purchasable-65", so "Classic"): TC menu "Jam Sync" will, as Bouke said, "learn" TC and adjust internal reference - this requires a low jitter TTL TC signal and the better the signal the quicker the "learn" or "tune" (TC will blink while adjusting). As this will also drive the internal reference it is as good as having genlock as long the camera stays on. TC Menu set to "Regen" however, will regenerate the internal reference clock constantly clocked by incomming TC - so this literally is a "genlock by TC" Which means the signal must be constantly present like genlock, too. Again this may work unreliable with imperfect TC signals and put out errors. Alexa "CAP2" cameras (Amira, Mini and possibly MiniLF): TC Menu as above. Usually "Regen" does the job, due to the quality of circuitry. But as the Amira was initially designed towards the ENG market it also was planned to accept separate external sync and they merged it by giving the additional option in sytem/sensor menu to reference clock the sensor as per Wandering Ear to TC in and even Genlock (still, (by default, the sync In BNC is not connected to any electronics, btw.). Selecting TC In on top hardlocks the whole system witht he same effect as on the "Classic" range. Oh, and whoever really does need video sync: another contender of genlock spitting boxes was just announced at NAB
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  10. FWIW the AKG ck1 is also just a capsule. It needs a 451 or 460 powering module. While it's a small mic that can even run on 9v, it's a properly high-voltage externally polarized cap (clever little inverter/transformer/booster in the preamp). That line also includes omni, short gun, and long gun versions for the same 451. Their "BlueLine" is very similar but uses an electret capsule. Cheaper and a bit more self-noise, which might not matter for most v/o recording.
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  11. I have not used the microDot adapters, how much length does the add to a plug. I had a Rode lav, and their plug-adapter lasted about a week, I chopped it off, and soldered on a one-piece plug.
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