Andy P

Hi Csaba, what bag did you go for in the end? Interested to see the Protogear if you went that way, thanks.

Thanks guys. I'm here using Zax block 23 and getting better range than I do in the UK to be honest. Great city, amazing food!

Can anyone tell me what blocks work here? Thanks very much.

After a while of delivering M and S recordings and them never being used, I now deliver XY recordings. M and S recordings were just never included in any OMF/AAC exports, no matter how often I explained the decoding principle. With XY the director and editor can listen and gauge weather the recording works for them as it stands. Communication is the key though, let your editor, director and post team know what to expect and if they sound good and work for the film they will use them. The directors and editors I've worked with for BBC projects aren't really sticklers for the rule book, and like pushing things. Having said that… I've been referring to atmos recordings, if you're going to record a group of musicians or similar, i'd record it in MS and make sure they don't ditch the S track in the edit!

I'm currently on a job with an Amira, shooting at 29.97 DF. The Amira will accept incoming code from an ERX but it is clearly out of sync. We shot a few files with a digislate and checked them in Resolve. They were out by between 1 and 3 seconds, so not constant. It was also out when I hardwired my Nomad TC straight into the Amira. But it looked to be correct when it was in 29.97NDF and 25fps. So the first half day we shot with the understanding Post would have to sync up using the board. At lunch we phoned Arri and were told it's a known issue that the Amira "doesn't like" DF frame rates, and they're working on a fix. After lunch I tried jamming the Nomad from the Amira as often as I could. I'd then also have to rejam the slate. It looked to be ok. We heard from Post the next day that once synced, the files stayed in sync and didn't drift, which I was concerned about, and also that the files from after lunch were autosyncable, ( so Amira as a master and Nomad jammed from it). We continued for a couple of days with this awkward procedure but then on the fourth day I could see the code was slipping again when I was rejamming, with the Amira's clock running faster than the Nomad's, so they had to use the board to sync again. Looks like there's a bit of work needed on the Amira's timecode functions..

Early days I know, but could any of the users say weather the D Slim is more or less prone to wind noise than the 4060 models? 4060's are more sensitive to wind than Cos 11's so curious how the new design will fair.

Interesting.. I've not had much luck powering a Super CMIT with standard star quad cable from a Nomad. With a 10m cable I got a signal but there were audible glitches every 20 seconds or so, so I have to use the Van Damme AES grade cable. I've just got an Ambient boom with an internal cable of 4.5m and that doesn't give me any signal from the Super CMIT at all, even though all 3 LEDs are on, on the mic. Haven't had the opportunity to try powering from a Mini DA42. Might give better results than the Nomad.

Thanks that's really helpful. I need to mount them on my Petrol 614 at the moment. Not as rigid as the Orca but I'll find a way.

pindrop, what does the cold shoe mount screw in to? what's behind it in your orca? are there just nuts on the screws, or do they go into some kind of plate for better rigidity? thanks!

Thanks for the extra pics Jose, very good indeed. Glad to hear there was no vibrations on the initial recordings. I love the simple, small form factor of your rig. I'd try and keep it small if you felt you needed some shock mounting, and try the neoprene option first, then the bigger mounts. Nothing like stating the obvious eh?

Very nice Jose. Can I ask about the mount - was there any audible vibrations from the stereo bar on the mics, and how is the 742 mounted on it, do you have a pic of that at all, from the bottom?

Thanks for looking into it Jeff.

Is anyone else having problems seeing the pictures from this thread? I can't see the two pics posted. Especially keen to see Tony's picture, it's my project today to get my new Micplexer and SNA600's mounted!

I think the modification should be with the plastic minix, I got the older wire version in the end and it works perfectly with the B5D.

That's interesting you say that. I hired a Minix to test with my CCM41and a B5D before I bought one, it had the wire suspension. It worked great, I loved it. When I ordered one to buy , it was the newer plastic version, and I got considerable wind noise with gentle movements indoors. So, I sent it back for a wire one and the problem was solved. The wire versions are more delicate, but I think they work better with the B5D.

I'm interested in the timecode clock and accuracy also. Can current Sonosax users share their experiences and what about the SX-R4+, does it have the same clock?

And why mono out - given that it is primarily a transmitter?

Or even mixing a doco scene with QRX and RX900 receivers, when you don't know who will speak next can be problematic because of the difference in latency. However much you dial in it's never correct, because the mics move etc. Best thing to do in that situation is mix it after the action.

I switch between a Nomad and a Maxx on the same day sometimes. The cards have to be formatted differently so no chance to use the same one. If I'm using one recorder I name the folder in backwards date format e.g.. 150316- If I have two recorders that day it's 150316A 150316B A quick note to post and then it's pretty clear.

And further to that I would like to add that the 1/8" socket on the ERX's is appalling and has failed on all three of mine. The exposed delicate power switch should be rethought too! Vent over!

I totally hear what you're saying about the slow menus, very frustrating. There is the AUD/TC button to the left of the LCD that gives you quick access to the input levels. This button didn't work on the earlier firmware versions but has been ok in recent versions. I have had quite a few instances where the camera has not picked up the EXT TC again, after having been in slow mo, and has needed to be restarted. That's my biggest gripe.

I can't remember about the F3s settings, but on the F55 the EXT-LK disappears if there is no ext TC. On the C300 there is either an "E" to indicate it's receiving ext TC or when you unplug the TC source there's a "F" to.indicate it's operating in standard free run mode.

Olle - there is an EXT-LK indicator you can make appear in the View Finder of the F55. It's in one of the display option pages.

So many variables to consider here, are you using a 4 pin Lemo to BNC jumper cable to get TC into the Epic? That is quite fragile and can brake easily. Also, all three of my ERX's mini jack sockets have had to be replaced. They just stop working , they may be intermittent for a time, which could explain why it worked on the other Scarlet for you. Just try to eliminate all the possible causes, try different cables. To me it sounds like a hardware/cable issue rather than software/firmware issue if everything was working ok.

Just to prove there's always others who like things different to the majority - I personally hate multiple zips on pockets. There's 15 zips on my Petrol 614 that jingle, if that was on a piece of camera gear jingling every time they took a step near the talent i would be having words with the camera crew, so it's only fair I cut off the tabs down to the bare minimum that I need. It's easy to pass cables through to any section with the internal access slots so i prefer to keep the zips closed. We're there to capture the sound, not make more of it.