Matt Radlauer

The fins themselves, did you make those? or purchase them and ad the coax etc?

​TOTALLY! This ladies expectations were umm...out of this world ridiculous. We did our best to be polite and professional. Like I said it was an easy decision when they found out the cost..for ONE person to be able to hear every single mic was un-realistic.

I ran into this exact situation on a show I did last year..However it was with A LOT more people. 5 main cast members and each cast had supporting people 2-3 each. Our absolutely truly fantastical amazing EP just had to be able to dial in to every single cast member...individually whenever she wanted. We dodged a bullet and put her little pipe dream to bed when she found out how much it was going to cost for an IFB TX for 11-17 people! She had to settle for a lousy comtek feed from each mixer...poor lady. In this situation we could have used another entire sound mixer just to run IFB feeds...

Using what he has available I would say he did the best that he could. Regardless of what is wrong with his test...It does show forward drift.. the only thing I can think of in regards of result would be latency between nomad and ERX. Probably 100ths of miliseconds for encode and decode of data packets. I haven't done the update yet, but I plan on it. I think its cool none the less. Its nice to see advancement in products already owned.

Nothing better than the satisfaction of knowing you do things the right way! Nice job Lectrosonics!

When I encounter this type of situation it usually comes in one of two forms: First is the seriously uneducated, you can hear it in their voice person who knows they need sound but doesn't know the in's and outs of what we do... These people are pretty easy to spot. They are mousey and don't speak the language, either in terms of rate or in terms of production. I do what I can to help them understand what it is they want and either talk rates or suggest a student type to fill their needs. Second is the penny pinching Production Manager or Line Producer looking for a warm body at the very lowest cost. These guys understand gear, lingo and most of all rates because they are ultimately the ones driving the rates down... While I do my best to be professional, I am very upfront and firm in what I expect for rates etc. Most of the time they are short conversations because I'm not going to kill myself and my gear for beer money, and I certainly would not refer any of my friends or fellow mixers to these people. They can do their own homework. The biggest thing I've come to realize is recognizing what kind of person is on the other end of the phone and dealing with them accordingly. Its pointless to argue rates with low balling productions. They know full well what the rates SHOULD be. They don't care what I have to say...They don't want to be educated. They want a warm body. If its not me its the next guy on the list. I'm on the fence about publicly "shaming" productions for low balling. There is always someone that will fill that role...Typically if I get a sketchy call I quietly warn the people local to me to be on the look out. As opposed to making it a big deal. Now, productions that do not pay? Those people deserve to be tarred and feathered! Another thing to consider is that maybe the person shaming the awful production company did it in a professional manner, but just needs to vent and commiserate with others who share that frustration. Maybe some more tact could be used when venting...like not naming the production co...So then it remains a venting session rather than a torches and pitchforks session..

Its a bummer about the battery life and display...Hopefully they can work something out for that.. As far as your CL-9/CL-Wifi...You had to know going into your purchase that 688 wouldn't work with those devices.

I have one of those.. Got it at Hobby Lobby for $70? Nice light...stays in place and positions easily. I clamp the wire to my soldering iron on it, with some slack.. It allows me to work in tight spaces and keeps the cable out of the way.

I think the folks over at Zaxcom might disagree with you in regards to starting the digital wireless innovation comment. Innovation is what SD has done by collaborating with other manufacturers to develop the Super Slot standard. Sony in no uncertain terms makes it a point to be different than the rest of the industry so you are forced to use their products to enjoy all of the functionality. OR develop a work around like Lectro did in the case of Sonys cameras with slot receivers only being able to use 1 channel if its not a sony product. Its fine to like what you like. It works for you, and thats all that matters in the big picture. I think the statement that you expect SD to go out of its way to conform to one manufacturer is not fine for the reasons I've stated...especially when other manufacturers have willingly adopted other slot standards and now are collaborating to make super slot successful. If Sony was really interested...for your sake they would adopt the standard to make your life easier...not the other way around.

Seriously? Why would SD do that when Sony goes out of their way to be different?

When the 6 series mixers came out it was very clear that the pre-amps were different from that of the 7 series, more like the 552. I'm not trying to debunk what your doing but because of the known differences the quality of the tracks are bound to be a little different. While the 6 series amps sound nice, the 7 series sound that much nicer...right? I will agree with the rest when comparing two stereo images...blind testing of the tracks is the way to go, but also a recording of exactly the same source using exactly the same mics. Mic placement and the source for your stereo image are going to determine how well the track images. Relying on the HP output of a field mixer is probably not the best way of judging the actual image.. When I did music I always loved soloing a set of drum overheads (spaced pair). Especially with a choppy drummer who moves around the kit. You could feel the movement.. Hearing the tonal quality of the cymbals or ride on one side of the kit (drummers perspective of course) compared to the tonal quality of the cymbals on the other side of the kit.

I hear SD uses that..

How about rf shielding? If you take the case off aren't you removing this protection as well?

Did you try looking at the manual? It has a nice break down of what all the functionality does..And for a more broad look at Time Code..I would suggest google...bing...yahoo search?

I will have some LT Tx later this week...I plan on pairing them with my SRb's...I will write something up for what I have next week.

WOW! That is super confusing. Is there a reason for the inconsistency of hardware between versions? I had always thought everything was linux based.

Just a straight TRS cable, match levels, collect gear at end of the day.

I think you answered your own questions with the selection you have listed.. The modified Oktava MK12's are also very popular..And they sound decent as well.

Totally agree. Like I said. I'm not against zaxcom enforcing their patent. My thinking was from a purely consumer point of view... Again my hope is that the technology will be licensed so that another set of eyes and ideas can take the technology someplace they might not have thought about.

There are obviously many ways to go about what we do to get the end result. My thought is this.. Does enforcing the patent really help zaxcom? In the short term yes because they own the IP and that's all well and good. But the other end of the spectrum is that WE the consumer are left with a single manufacturer to buy from and depend on development of this technology. At some point the development could become stagnant, and/or the pricing and availability of the product is out of reach because there is no competition in that particular niche. I know all of the manufacturers do their very best to deliver us great products. The quality and innovation that comes to market because of the competition is great...sadly we will not have that in this case. Don't take this as saying zaxcom should give up on its patent enforcement. I am just looking at this in a big picture sort of way and thinking about some of the "what could have beens" for our market. Maybe at some point Zaxcom will license the IP so that a different approach to this can be taken. In the end that would be win-win.

Its a TA5 stereo output on the RX200...and I understand exactly what your saying. Honestly your probably better off with the ERX. The RX200 is bigger and heavier. Not really intended for the DSLR world unless you're really committed to using it that way.

He wants to know if it will route TC on one of the audio outputs.. similar to how an ERX works..For situations where audible TC is necessary...but its not really needed since it has TC out. Just adapt it down.

I have an RX900S at the end of my CL.. It has always been rock solid, even in heavy RF environments. The one thing I did notice, is that if the antenna is not perfect, the signal is gone. I had a gig recently where the camera op had his camera under slung for a shot...In doing so he bent one of the RX900 antennas right at the base...even with the other one in tact, the signal was gone.

Are you recommending lithiums like with the RX900?

I missed that scanning over the thread. Sounds like a smaller updated version of the RX900. Good!