pscottm

just curious, what frame rate are you running? what are the cameras running?

i've done quite a few series shoots w multiple nomads feeding a couple cameras each and have never encountered drift except when something is set wrong. we fire up the nomads, jam one to the other, jam the cameras and go. business as usual. it's good to check for drift when there's a chance, like after lunch but sometimes we just aren't able to do that when the two units are in different places at different times. even then, by the end of a long day the amount of drift is undetectable by eye. why is it so necessary to jam nomad over zaxnet from another nomad? then both units are on the same zaxnet group and freq which is not a good ideawhen you want to use IFB or other, more constructive uses of zaxnet. i'd just jam the nomads via BNC and if something drifts, get a syncbox until the drifting unit can be identified and calibrated.

Coax antennas look like a great option for changing over from cart antenna to bag antenna quickly but only if your receivers are in the same block, no? Or at least within a couple blocks?

miguel, if you're an iphone /ipad /or ipod touch user, there's an app called Jumpstart LTC that's designed for this specific purpose, loading TC and user bits into devices that have no way of setting TC internally.

good news!

hmm thinking about canceling my current order for an LA. how soon is 'stay tuned'?

very cool. i look forward to this.

i'm wondering if the same recommended block spacing applies to the CL?

could also be a bad acoustic 'perfect storm', an ess-y speaker w a combing reflection coming off that polished wooden surface. (and a peaky mic)

oops, sorry. i see this question was answered clearly just last week. I've looked at all the info i can find except for just higher up on this page. doh QRX needs QIFB board to decode TC and send it to physical output provided by QIFB board.

is TC imbedded in the audio stream or sent via zaxnet or both? if using a CL w QRX (no QIFB board), can TC still make it across to QRX?

might finally retire the stereoline for one of these. looks great.

less than 400? oh dear, that's crazy. i guess i'm lucky to charge $90/day extra for hops.. i still try to make sure the cam department requests it so production is less likely to bitch about it (sigh). scratch track is a courtesy when running double system so no charge there..

i use an older zaxcom stereoline kit for mixing to camera ENG style where cam audio is going to be primary audio. one transmitter, one receiver. i mount it w a side bracket that comes off the cam's battery plate. cam operators seem to like the sturdiness and light weight. i've also used an SRa in a cam slot which works well too and is even more ergonomic for the cam ops but it ties up two transmitters that i'd rather use for talent than for links. for scratch tracks i send a mono mix via sennheiser g2 which works surprisingly well and will run all day on two alkaline AAs. it's small and easy to mount, doesn't have the same audio quality as the zax but has been good enough to tempt lazy editors to not sync the recorder tracks on occasion. so now when i work w that production company i over-modulate the g2 a bit to keep the lazy editors honest. most of the time they're using plural eyes to sync audio/picture so the occasionally distorted scratch track does it's job and is still way easier for the software to recognize than the built-in mic of a dslr.

maybe try it w/o the mid/side matrix engaged to make sure it's the matrix causing the prob? i'm with philip, sounds like the multed-out-of-phase side of the matrix is collapsing for some reason. bad digital routing? very odd indeed.

yes but replacement of that weak point (XLR outer body that threads into the plastic butt-cap) is easy. no unsoldering/soldering required. i just replaced that part on one of mine.. took 5 min.

neumann kmr81 fits the 'not too tight' description pretty well. it's probably the 'loosest' shotgun i've ever enjoyed using. very musical sound, if that matters at all. pricey new, but a nice used one can be found for under $1000.

this happened to me a couple years ago. happened to be a sandisk in a 552 but i'm convinced neither the card itself or recorder was related to the card failure. it occurred when the usb card reader connection was interrupted during data xfer to my laptop which corrupted the card. the interruption was caused by a less-than-tight connection at my laptop's well-worn USB port. remounting the card was not possible, no longer recognized. i recovered the data using recovery software from sandisk but the files' headers were missing. was a total loss. i don't use that computer in the field any more. i don't record without a backup anymore either (now use MARF as well). after that disaster i'm doubly careful of the reader/connection i'm using during xfer. no probs since then.

interesting. so how do you connect the the MZX8000 XLR module, or is it not needed when using the MZL conn box?

i rented a 60 while my CMIT was being serviced earlier this year and going from CMIT to the 60 was quite a difference in tone. i agree w superdiscount's description of the 60's sound quality, compressed and isolated. i had a hard time getting a sound that was pleasing to my ears but it did give me a clean full sound none the less. so next time out i rented a 8060 and to me it sounded like a breath of fresh air compared to the 60. i noticed a slightly looser pickup pattern and more natural tone w more presence than the 60. using the 8060 w an invision mount presented no handling noise whatsoever. i ended up buying an 8060 that week and now that my CMIT is back and working as it should i find myself using the 8060 more often than not due to it's ruggedness and compact size, though it's heavier than the CMIT. but back to the 60, i feel that it pulls voices out really well but it just sounds too chesty for the way i like to hear things.

yes!!

i have an early model that will be a year old soon and as soon as i get a break between shoots i plan to upgrade from an 8 to a 12. i'm very excited to do so! i've had my problems, from mistakenly using alkalines very early on and causing damage, to later sending it back for a power switch/schoeps input mod/mix8 mod (not really a problem) but i've sent it back twice and each time, zax service has been exemplary. the other 50 weeks it's seen seen alot of use in what has been so far the busiest year i've ever had. some shoots are dead simple, others complicated, i seriously love the sound of the unit, neverclip, the flexibility of routing, and zaxnet! it has lowered my stress level, made my back happier and my tracks sound better. perhaps because i'm not complaining or requesting a new feature, this comment will come across as complete drivel, but there you go, a word from a happy enthusiastic nomad user.

the one time i used a mackie unit similar to yours to expand inputs of a metric halo 2882 via digital ins, i had the same prob. clocking errors after about 5 min, which renders audio on those tracks unusable. then i switched to using mackie as master clock (thru AES or SPDIf, cant remember, and it went ok but still made me nervous. in the end i ditched the mackie and got another 2882 which worked flawlessly in any number of configurations for high track counts w boom recorder.

i run mine down to 12v (no lower) during use, as recommended by IDX, then charge to 100% for storage.

i use auto load often, pretty much any time i'm mixing to cam w a hop. that is, when the cam op or show demands rec-run TC. i velcro a g2 onto the cam and send TC to nomad wirelessly, it always has worked flawlessly. (null)