Paul F

I read up on the red dot COS-11D. From Lectrosonics back in 2012: "We recommend wiring the standard level COS-11 in a 2 wire configuration with a 1k resistor in series with the white wire (source wire) to ground. This reduces the output of the standard mic by 6 dB which will prevent overload of the input buffer on the UM400. This isn't necessary for the SM series since it cannot be overloaded by the COS-11 under any circumstances. It does make the microphone compatible with both transmitter series."* From a member of JW back in 2012, "When I purchased two of the red dot COS-11's a few years ago, it was at the advice of my sales contact at LSC -- I had also purchased two Lectro MM400c's, and it was explained to me that with this particular TX, the RF gain was somehow tied to the main output level of the unit -- thus a higher gain setting on the TX delivered better RF performance... the 10dB pad built into the red dot COS-11 was essentially meant to compensate for the higher gain setting on this TX." I don't know how any of this applies to the LMa I was provided, but it's clear that the red dot was provided to improve performance of some Lectrosonics transmitters, not to be used in loud situations. So for all I know, I was provided the correct microphone. *The wiring diagrams at this link show the resistor to be used for the normal wiring, not the red dot wiring, which is backwards from the notes above. I'm confused. https://sanken-mic.com/en/qanda/index.cfm/11.20

Please keep me posted on what you learn.

Not for me. The Lectrosonics is going back to the rental house today. It was a surprising and disappointing experience. It has left me confused. I think the best next step is to get together with someone that has a working system and listen to it. I'd really like to hear a Wisycom MCR54 system. Is there anybody in the San Francisco Bay area that would be willing to get together that has an MCR54? Regarding playing nice together, both the F8 and the 788T have the same input impedance, so I don't see that there would be an interface issue. The 411a output is balanced while the G3 output is unbalanced going into a balanced input so if anything, the 411a should play nicer.

Larry, it was wired per the diagram labeled "COS-11 normal" at this link - https://sanken-mic.com/en/qanda/index.cfm/11.20 It was a rental package, so I assume they have it right, but I checked anyway. [edit] The above is wrong - it was wired per "COS-11 red mark" and it does have a red band on the cable. There was no resistor inside the connector.

Oh, if only it could be so Moe.

That's a good thought. I checked the wiring and it is correct. Please keep the ideas coming.

As always, thanks for the help Larry. While that did change the settings on the F8 (G3@33db, Lectro@10db), the noise level on the Lectrosonics is still significantly louder than the G3. That is surprising. While nice, I don't need the features that these upper tier systems provide. The one thing I wanted was a better noise floor. I had a system in the Trew cart a couple of times, but I just couldn't hit the buy button without listening to at least one of these systems. Now I don't know what to do.

Yes EK, thanks.

I'm interested in buying one of the big 3 (Lectro, Wisy, Zax) wireless. But before I drop 10k, I thought I'd see what I was getting in the way of noise floor. I can't find any examples comparing the two. I rented a 411a/LMa to compare to the G3. To my surprise, the Lectrosonics noise was louder. I figure my setup is wrong. Please have a look and comment. Lectrosonics: COS-11D plugged into an LMa. LMa gain set to a level so that the Zoom F8 is reading -12db for the peaks 411a plugged into Zoom F8 411a gain set to 0 Zoom F8 gain set to 28db Sennheiser: COS-11D plugged into SK100 Sensitivity set to -18db so that the Zoom F8 is reading -12db for the peaks PK 100 plugged into Zoom F8 PK 100 gain set to 0 Zoom F8 gain set to 28db

The Adapt-a-Pak cases are called Infinite Divider System and are made by Flambeau Products, -https://www.flambeaucases.com/ids They come with or without a handle and can be mounted in a pull out tray. The box lifts out for mobility. I have 3 of them mounted with the slide-out trays on my cart. I'm very happy with it. I only wish they made taller ones for bigger parts. Here is the cabinet for them - https://www.flambeaucases.com/ids-cabinets The dividers that Constantine mentioned are solid as they are positioned with a fine-pitched grid of 'teeth' which are so fine, they are not visible in the picture. Flambeau has several other useful products.

The announcement should say "Since Sony and Canon withdrew from the show and many other exhibitors followed their lead, the show has fizzled out. "

Sony and Canon's announcement that they are withdrawing from the show probably quickly put the show in a cancellation spiral. Once they announced, other vendors likey quickly followed suit and that was the end of that.

Force majeure or not, since communication has ended, it's appropriate to discuss this openly. Perhaps others know what the situation is and can find a resolution. If that doesn't appeal to you, then perhaps send a private message to those who you identified as having a relationship with the person and see if they can provide information or resolution.

Has anybody renewed their expired license? I see that some who originally got a license had an expiration date in 2021. Is anybody maintaining their license or tried to get a license recently? I ask because the local 695 link no longer valid (5 posts previous to mine).

Anybody that has tried to speak through a stadium PA system already knows about this.

https://www.bhphotovideo.com/c/product/1611094-REG/smallrig_1993b_universal_shotgun_microphone_mount.html

I'd be curious about aluminum knobs for the F8. I bought the printed ones https://www.ebay.com/sch/i.html?_from=R40&_trksid=p2380057.m570.l1313&_nkw=zoom+f8+knobs&_sacat=0 and found them to be unusable for a double row mixer. They take up too much space and make it near impossible to use the push buttons and the faders themselves. Low profile and smaller diameter might work. For a single row of faders it's probably not a problem. Kishor Chauhan did this (SD knobs, no longer available), but he never explained how he did it. Zoom faders don't have shafts.

Sound said: "Still I don’t get why it’s possible to send the signal of a single transmitter to three receivers but it’s not possible to pair say four transmitters to a stereo receiver and switch channels just for monitoring. " I'm not well read up on the IEEE 802 standard (wifi), but from what I read I'm guessing this is a limitation of the wifi standard.

Well, no, but UHF is a whole different ball game. The reason 2.4G is so popular with the lower cost systems is that the manufacturers buy chipsets that do all the wifi stuff for them. All the complexities (and it is really complex) of wifi transmission is figured out by vendors that specialize in making chips for the wifi standard. So you buy a chip, connect an antenna to it, send data to it and the chip works out all the complexities. Wifi is a standard that is run by billions of devices. Easy peasy to make a product for wifi, Well, relatively so compared to UHF. UHF wireless audio works in the same spectrum as television channels and in the US, also in a space reserved for wireless microphones. So the UHF wireless has to abide by the FCC rules for this space, which don't allow for the things that wifi does and visa versa. They run under completely different rules. Designing for UHF gets a bit more complex in that the designer has to do most of the work themselves. There isn't a 'billions of devices' market and so chipsets that do the RF stuff don't exist. So there is quite a difference in developing products for UHF vs wifi.

I just bought this. Ok, it has an arm. It's smaller than it looks (8-1/2 x 11). I'm going to mount it off to the side of my cart and use it to put my pad on and rest other bits on it. It might be too light for what you want, but maybe it will give you some ideas. https://www.sweetwater.com/store/detail/KM11520BK--k-and-m-115-2-sheet-music-holder

Saying that the volume of the LTC is 'quite loud' indicates you have the output of the Ultrasync set incorrectly. Check/set the output level of your Ultrasync One - https://support.timecodesystems.com/hc/en-us/articles/115000774372-Set-the-LTC-Output-Level-UltraSync-ONE [edit] - nevermind. I see you already have it set to the lowest level. Still, that leaves one wondering why it sounds so loud. Maybe double check the setting?

Yes. I would not conclude it is the cable. The cable (TCB-53) is specifically made for the application you are describing. It looks like it's properly made, using separate cables until the 3.5mm connector. I'd look elsewhere as suggested by the other posters.

Velour - I'll have to give that a try. Jim - Information you didn't ask for - The reason the Sony pads feel good and wear out is that outer layer is micro-thin. I don't know what it is, but its almost like they painted the foam. If you look at the Sony pads, you see those wrinkles in the pad. You need the wrinkles. It indicates the outer layer is very thin. I don't see wrinkles in the Wicked Cushions. I've tried a few different brands and the only thing that worked pretty well other than Sony was a cheap knock-off from Ali Express that had the wrinkles. They are about 95% as good as the Sony. I don't have a link handy.

I use passive splitters and a bias-T to supply power to the antenna. The advantage being you can optimize how many splits you use and as you say, eliminate one amplifier. Yes, more cables and more boxes.

Indeed, these are very inventive boxes and Deity is breaking new ground. What I'd like to see if it is possible, is some papers on the topic of 2.4G wireless that helps us know when and how to use it. UHF is no panacea, but manufacturers have given us papers on the issues with UHF, they have given us tools to scan the spectrum, they have given us tables to get around the problem. It would be helpful to have some materials that allow us to plan our 2.4G use.