rich

i am guessing that there is a lot less locking going on than you think. if Glenn says everything is being resampled, you've got to take the word of the person who designs one of the components in this discussion. there always was a few seconds when the 743 is powered up / a super CMIT is connected where everything is syncing itself up. but most digital connections in our field are sample rate converted. theres not that many units that have sync inputs. the super CMIT can do weird things sometimes - mine didnt like noises like leaves in the wind that were coming from directly behind the mic and that would sound like a low res data stream. and setting 2 was very heavily processed. i also thought it sounded nicer with the initial firmware. when they updated the firmware, it made setting 1 stronger, and i could here more artefacts in that. though Schoeps told me that there was also a later hardware update which cured some of that, but i sold my mic after i had it done so didn't really test it out. i am reasonably certain that the person who bought my 742 and super CMIT has used them together happily for quite a few years now as they haven't rung me up demanding their money back.

this one is very real https://www.youtube.com/watch?v=XlDezjUxZtk

many years ago, when i had my super CMIT, i used it with a 742 and 743, into QRX, and then into the AES in of the 788. it all worked just fine. its not beyond the realms of possibility that there was a fault somewhere in the chain between the AES42 cone, and the 788 in. as there are plenty of others out there who use a zaxcom tx with their super CMITs, and none of them would continue using it if they thought it was giving anything other than great sound. zaxcom also used to make a 942 transmitter (which i still have in a box somewhere) which would power a super CMIT for 6 hours. only downsides were that it only transmitted one channel of audio (either processed or unprocessed) and i can never remember if there was an answer to wether it would have been possible for it to transmit stereo. the other downside was that it had to be worn on the boom op's hip, which made it tricky to rest the boom anywhere and keep a mic open in the room. and most boom op's i worked with much preferred the transmitter on the pole.

we may be working in different areas of the industry. but i just format the card in my 8 series and use the default name - Scorpio SD2 for example. as i create a new folder for each shoot day, and every file has its own unique name for the job, i've figured that is fine. and in as many years as ive been recording to hard disk recorders, i've never had an issue involving the name of the card i've handed over for rushes. for my last two jobs, i've put a little label (RM 1, RM 2 etc) on each card i am using, which also helps with rotating through the cards and so that returned cards don't get used for a few days - just in case. but thats as far as i've gone for that kind of thing.

unless you are plugging it straight into the microphone itself, youll always have a short jumper cable between where the tx is mounted on your pole, and the mic where it sits in its suspension. i had a very quick scan in the MTB manual and it doesnt mention anywhere how to mount it for best rf transmission, and i would expect that if it was the case that it needed to be mounted a specific way, they would be sure to mention it quite early on in the manual. i dont know how short a cable you are planning to use, but i know many mixers who use MTB plug ons for their primary booms, and they are all connected by a short jumper cable to the mic on a suspension and i have never heard of any issues they have had with range. but i also expect that if you wanted to have the transmitter at the opposite end of the pole to the microphone, you would have few issues. there are people on here with far superior knowledge about rf design than myself who would be better able to comment on your highly respected professional's comment about every plug on devices design. i just use the stuff and trust that the manufacturers know what they are doing, especially for our little niche world, and that any product that didn't work as you would expect for the premium grade equipment we are talking about would not be worth any manufacturer bringing to market. which is a rambling way of saying, i bet it'll work just fine however you use it.

thanks for the info Karl. it had been a while since i had checked the specs on the latency of the Lectro systems. and i was either gong from memory from a very old figure, or (which is very 2021) made up a likely sounding number and used that without actually doing any double checking.

assuming that have you compensated for the different latencies of the two systems (2ms for A10, 3.6ms for lectro), it could be that having the SSM in DPA mode has swapped the phase, but because there isnt a DPA mode for the A10, you'll need to change the output phase in the A10 menu, or at your recorder

I’m not using any of the RF bits of the SL2.

i have started using my Audio Wireless DADM226-DT in my bag rig in place of the antenna distro on the SL2, and i feel a lot happier with how it is performing. whislt i havent had opportunity to use it a great deal, i could at least see that if i keyed a walkie near to the antennas, the receivers wouldnt lose signal.

dont bother with whips. get a decent rf distro as soon as you can. i use an audio wireless DADM226-DT in my bag rig which works great. when i first built my bag rig with whips on the receivers, the range was very unimpressive. swapping the next day to a distro box with dipoles mounted on the bag improved things massively. an unfiltered distro will work for you as well, but ive been using either the AW powered and filtered fins on my cart rack through an A10 rack, or the 226-DT box in my bag, and it helps cut out a lot of unwanted rf, like walky talkies, and IEM transmitters.

why not get some SMA to BNC cables made up? Rather than using an adapter.

oh yeah. the A10GF

i thought about it for a short while, but decided against it as it would mean buying the UMP III, and a few NP50 batteries and a charger. and two more A20s. I will wait for the inevitable replacement of the A10. the A11? the A10X? the A10-32? the shutupandtakemymoney?

what are your compressor settings on the tx? there is still a maximum level that can be recorded and transmitted. neverclip means that the compressor has undistorted audio to work with to get your levels to within that maximum, rather than the A/D overloading before the compressor does its thing.

yes. they can be used with the wisy TX. (as well as most other manufacturers that use the 3 pin mini Lemo)

assign noise assist to your chosen bus. in the bus assign page, select more... then you can find the noise assist amount. and with the output you want to use to send you IFB, assign your chosen bus.

you will be able to record a L and R mix track, and i think Bus 1 and Bus 2. ( i can on my 888 and scorpio, but am only assuming you can on the 833). the manual (or an 833 owner) will be able to tell you how many physical inputs you can also record.

an oldie but a goldie

in the XLR connectors of the PIanissimo, break the connection between pin 1 and the shell, so that there is no connection to the shell, only pin 1. i did this to mine and it fixed issues i was having with my A10 transmitters.

i am saying that i do not believe that the A10 rack has the hardware to pass 4 channels of audio from a single slot. the 8 XLRs on the back of the unit would bear that out. i also suspect that the Dante board in the A10 rack only supports 8 channels, so there isnt any scope for additional channels there. please also note, i am using the word belief to indicate that i do not know for sure, i am just a guy that uses the stuff, and occasionally remembers stuff from the manual. if you want a definitive answer to your questions, the Audio Ltd and Sound Devices will be the best people to ask. they are lovely people and are generally pretty quick at getting back to you with technical questions. good luck

the A10 rack can only output 8 channels of audio per rack. i dont believe it has the hardware to support 4 channels of audio per slot. if you loop the antenna input of one rack to another, that will give you the 16 channels of audio with one pair of antennas. the bit you were quoting from was in the RF distribution part of the specs.

Nomad has neverclip on its analogue inputs. thats the main thing i miss since i sold mine.

how many watts is your iron? i use a 25w iron that is fine for xlrs

i have this one somewhere in my doesnt fit me anymore, but might if i just stop eating those tasty snacks and do some more exercise drawer. https://www.moretvicar.com/collection/the-daily-mash/product/not-listening-mens-black-t-shirt

whats your recorder? most will have sample rate conversion for each AES pair. you would be better off having your recorder as the sync master if thats the case. that way you will have no issues if you have any problems with a receiver you set to be the master.