MartinTheMixer

Hello, The first thing I notice is that your power needs look low. Are you sure that is the actual power they require? Thanks, Martin Ok, I just looked it up. Those receivers only gobble about a watt? That seems really low. Or efficient. Has anyone verified this? Thanks, Martin

Ed, 1. I wouldn't keep shaking it around like that, you may damage tiny little components that don't like having something bang up against them. 2. If you let that part bang around in there while the unit is powered up, you have a serious possibility of shorting 2 contacts that weren't meant to be shorted together. Take it apart, find out what it is, my money is that it's a nut or a bolt/screw. good luck, Martin

Hello, And I believe the "C" has a max SPL of 8 DB higher than the "B". Thank you, Martin

Hello, I don't think I've ever seen that, because the other Zoom products don't even slightly resemble a real mixer. I mean I don't know how you would even fake it with the H whatever. There are no outputs, you can't fade a pot to take somebody out of the mix, I don't think you can have a left-right mix track out of one of those, no time code, etc. I don't know how you would begin to fake it, but, with the F8 it looks 633 ish from 10 feet away. Thanks, Martin

Hello, I'm a Zaxcom guy, but of course I have used Lectro before. I would use year 2000 Lectro over whatever Sennheiser has coming off the assembly line this week. Thanks, Martin

Hello, 2 years from now, maybe less, the ads for hiring mixers are going to read, in large letters "No Zoom".

Hi all, reference the comment about aging 641. I was in one of the shops they had a brand new 641 and I used 641, I tried out and recorded both. Whoa, what a huge difference. The older one had definitely, I guess we could say, aged. It had $0 value to me and was priced about 75% of a new one. So, obviously I agree with the aging comment. Thank you, Martin

Hi, And I have a couple of different L-com amps, the L com Omni antenna and the L-com very directional antenna. Martin

I have all stuff too, I just don't ever need it. AO said something interesting about you no longer have Zaxnet control. I remember testing and I did have Zaxnet control. We were obviously doing something different and I don't know what that something was. But I remember putting a transmitter 100 yards away and controlling the gain on it. If things get boring this winter maybe I'll bust all that out and play with it again. I just know that I'm not going to need it anytime soon. I don't think.

Hello, Well I just think of it this way. I only need 50 feet and if I got the other stuff and it would work 400 feet, that's just an extra 350 feet I have to haul around in the truck, and it's packed pretty tight already. Sincerely, Martin

Hi, And this is a fine demonstration of my point. For what I do, 60 feet is extremely acceptable. You have to define what is acceptable to you, the reader of these entries. Now you know the distances you can make your decision. I don't know why my lack of a need for more range would make anyone cringe. Anyone who needs these devices has to know what is acceptable to them for their needs. I could hook my Zaxnet up to amplification and larger antennas if I needed it, I just don't often need that. Thank you, Martin

David, I think others must be trying to get something out of Zaxnet and Zaxcom that I don't. I don't hope that it works, not any more than I hope that I don't have a flat tire on the way to the set, I don't think much about flat tires and I don't think about whether my Zaxnet is going to work that day. I've taken a few minutes to ponder this and I'm just wondering if mixers are trying to stay near the talent, which is not where the producers are listening, and that is what I do. The reason I'm not concerned with talent getting too far away is because I use the Micplexer 2, and I've gotten hundreds of yards of range thanks to that unit. So I don't try to stay near the talent, I try to stay near the producer and that's the only thing that I can think of that I'm doing different than others who are not getting the results that they deem satisfactory. I sometimes send a PA way off into the distance to check to see just how far I can get away with being away from talent. To me that information is practical and it's also entertaining to see how far away it will work. I have had experienced Pa's doubt that I could actually hear them thru the transmitter, and I have had to tell them either via walkie or yelling out that yes I hear what they're saying. And that's because they are not believing the distance that I'm getting. Maybe that or they just don't feel like walking very far. Sincerely, Martin

Hi all, I think it really depends on how much range and what all you need in the product. I use the ERX system and it is great. Outside in the open, I usually get about 50 or 60 feet. I recently had to do the "bag in the trunk", and after that was over I asked them how they heard it, they said it was fine. That was with the stock setup. I have had an occasion where I can put the bag on a table, and then I put that big 2-foot antenna on there, percentage-wise that makes a big difference. If you were wearing the bag it would poke you in the eye. I know this because I tried it just for fun. If you didn't have to wear the bag and you put a very small amp and that big antenna on there you would have great range. I know when production is getting out of range because they say "hey I'm getting this weird wobbly sound". And that's the sound you get from 2.4 gigahertz running out of range. I just move a little closer to them and show them that it's just the signal from me to them and not from the talent to me. I like the Zaxnet system. I've had camera operators tell me "no no we don't need scratch audio this camera" , because they don't want a big timecode box and a big audio box mounted on their camera. And as soon as they see the little zaxcom box come out they go "okay yea, scratch audio would be good". Because they have to have the box anyway on there for time code. Thanks, Martin

Hello all. Thanks for your input, but what I'm looking for here is a number. How long after it arrives? Thank you, Martin Jim, Exactly what I was looking for. Thank you, Martin

Hello, If there is no stated warranty period, if I buy something on JWSOUND from a fellow member, how long should they allow me to take, after I received the product, for me to cover the cost of a repair? In other words, how much time should they allow me to discover any defects in the product I received? Thank you.

Hello,I think that furthers my point. If you can't look at one led and calculate when it is "on", due to the ramp up and bleed down of the leds, how can you come to a conclusion on 2 leds located on 2 different units. In that scenario, your eyes would have to be able to see both leds at the same time, and calculate when both leds are at full illumination, since that would indicate when these 2 were "in sync". That's ever harder than analyzing one led. A dog that can't catch one car can't catch 2 cars. Sincerely, Martin

Hello, I think Steve has a good point there about humans not being able to see that. But I think the bigger problem, in this scenario, is one would also need to know how long that led was staying "on". And what is the definition of "on"? The led has to ramp up to full brightness, and then has to diminish down. So, what part of that illumination is considered "on"? If you look at a Denecke slate, When it is clapped, if you have it programmed to flash for 2 frames, that's a 12th of a second. Does anyone here read that display? Or even see the flash? Sincerely, Martin

Hello, The IFB200 works great for control of freq. and gain. So will all the current Nomads except lite. The IFB100 can't be easily mounted in a bag, so you can't get access to the controls to operate the freq change and gain change. But, the IFB100 has more power, but this doesn't make much real world difference. I have used the 200 in a bag with no need for any filters or power supplies. Sincerely, Martin

Ivan, It's only blasphemy if you tell anyone you did it, of course if you happened to record 2 tracks, maybe one not quite so hot, and that track saved the day, then your sins are forgiven. The problem in reality, is that it has gotten tough for post to listen, or comprehend, or something. So you may cause more problems then you fix, if you hand post too many tracks. Dealing with post often reminds me of a friend who had a child who was about seven at the time, and who was adopted as a baby. The child knew he was adopted, and the mother would explain to him that she went to the hospital to pick him up after he was born. And at the end of that story, every time, he would say "Okay, go back to the part where I came out of you". Which of course was very cute. But life with post can be like this when you explain something in perfect detail and then they ask what you just explained. I don't know if it's because they're busy texting "lol" and "OMG" in the middle the conversation or what, but often they just don't get it. And of course whatever is best for the finished product is what's best to do. Sincerely, Martin

Hello, I can't picture how come you wouldn't be able to do that in post, but maybe im missing something here. Sincerely, Martin

C, I'm no post mixer but I do get in there and play around with the files just to see what I could have done better, and I really think it has more to do with what job you're doing. If you have off axis noise to deal with, it's the digital Schoeps. If you are sound staging, it would be, in my case, the DPA 4017. The ability for the Schoeps to reject reverb is far superior to the DPA. I think subject to mic distance greatly comes into play. The "reach" from the digital Schoeps is far greater. So, pick your poision I guess. As far as setting 2, which was part of your question, again, what are you recording? If your working on something noisy, like "Billy Bob's Goat farm and Dry Cleaning Wars" season 2, then the Schoeps might be best, unless you need to pickup grandpa way off axis arguing with the tv over who stole the horse on Bonanza in the background. Sincerely, Martin

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

Daniel, Thank you for the input. I don't know whats going on with it. Tuesday it blasted a director, yesterday, it's working fine. I guess I will just test it everytime I hand it to someone. I feel like I might be doing something, I just don't know what I might have started doing, that I didn't do for a long time before that. It might be a combination of something, that would explain why I can't duplicate it now. Obviously when you're in the middle of working you can't say "Hey everybody, let's come to a work stoppage so I can play with my equipment and figure something out." Thank you. Sincerely, Martin

Patrick, A couple of things. I just tried it and now it works fine. It works on multiple erx's, so I'm guessing it is a Nomad issue? So it is intermittent, I just don't know if I did anything to cause it working or not working. Also, you mentioned that you are on Nomad v.7.81. I never had a problem in the 7.81 era. Certainly someone would have said something, probably a lot of something, if I had blasted them with tone. Thanks again for your help. Sincerely, Martin

Patrick, What version Nomad software are you on? I can't think of anything else that could be different from yours to mine. Thanks again. Sincerely, Martin