rich

pin 10 i think would be a loop through of the DC input, so can be used if you want to power a receiver with it. the input voltage range is 10-18v. it has nothing to do with AES42, as the powering is provided the same way you would power a P48 mic - with the XLR. when i made myself an input cable for my super CMIT, it didn't use pin 10.

ive been really enjoying his MMX build videos. and through him, have found This Old Tonys channel which i have found very pleasing. and if you enjoy jump cut gags, videos of machinists doing machining, dad jokes, and general silliness, there is a few hours to be spent watching his work. i think the gag at the start of this video is appropriate for this crowd.

it may potentially damage the active distribution if you are unable to turn off (or forget) the antenna powering. most of them will probably have some king of protection in case of a short - which is how the SNA600 would be seen (check it with a voltmeter) its easy enough to mod the 600 to A spec. you need a sharp knife, a soldering iron, and an email to lectrosonics to ask what the spec of capacitor you need to fit to the SNA600. they were happy to post me the parts (two surface mount capacitors (one for each antenna)) in order to do this myself.

I have a magliner fold up cart which I’m very happy with - once I bought the heavy duty wheels.

18 months later, i didnt either. but then, before hitting submit on this, i searched for the MMP-G on the DPA site and found this https://www.dpamicrophones.com/accessories/mmp-g-modular-active-cable-microdot then scrolled down a bit to the tech specs, and found it again.

are you using a sync box on camera? and a digislate - that will prove that the issue is with the camera, and then bounce it over to the sony techs.

Good luck. Meanwhile, I’ll double check all my receivers since I upgraded as I haven’t had a job since.

did ch2 work before you updated? if you retune ch1, can you pick up both tx's? you have double checked that you are trying to tune into the correct frequency i would expect. - you can get full rf from a transmitter on a frequency that is close, but not exactly right. for this testing, you only have two transmitter powered up? nothing else that might be nearby causing problems, like a camera link or IFB transmitter. how hot is the receiver? i have had ch2 behave like this when it got (very) hot. cooling it down brought it back to life. and, have you contacted Audio Ltd? or your local distributor, who should be able to help you with swapping things around so you can eliminate things.

How close were your transmittters to the receiver? Does moving them both over 2 metres away help? if you swap frequencies on the receiver (so that RX1 is now tuned to TX2) does that change anything? —sorry. Just seen that you have already tried that—

www.everythingaudio.co.uk

https://www.everythingaudio.co.uk are on the outskirts of London at Elstree Studios. and my go to place for anything i need to buy or hire, and will generally do everything in their power to make sure you have what you need. www.soundkit.co.uk are another excellent supplier. though i dont think that they deal with rental, just sales. and based in Wales, which is neither London or Yorkshire. https://audiodept.co.uk are also london based, in Chiswick, west London. and are more rental than sales I believe. at least, i have rented more from them than i have bought.

if you are using a BNC connector, then use the cable that fits it. as Jason said - if you are using an RG174 connector - which is what i use for most of my timecode cables, then use RG174 cable. its much easier when making the BNC as the connector and cable are designed to be compatible. get yourself a crimp tool for the BNC, as thats how they are designed to be made. i got a cheap Rolson one from Maplin whilst they were still going. hopefully you have something similar in Vienna you can get a hold of.

muffins. yes. they are still cheerios.

we record on the left, rather than the right.

before you start sending it away, just check what timecode mode you are on. if its some of the external tc settings, then it wont hold timecode. i would expect ext/cont is the setting that would do that from memory.

im going to bet that Richards post suggesting to put an XLR on and get the transmitter away from the mic removes the hiss. so, a few questions. what mic are you using and what suspension? i had problems with my mics until i cut the connection between pin 1 of the XLR and the shell of the suspension - i was using Cinela mounts. whilst that flies against what everyone knows should be a good thing to prevent noise, it pretty much eliminated most hiss i would be hearing. taping the antenna to the boom pole also worked, but not to the same extent.

if it makes you feel any better, i can only edit the frequency of the A10 receivers via the 688. everything else i have to go to the receiver. you can adjust much more with the wisycom or lectro receivers.

ive made a few of these. they work fine. just make sure you get small enough resistors to make your life easy when wiring the XLR. and yes. put the resistors in the XLR. the loop around the audio signal is the shield of the cable.

tip to TA5 pin 2 ring to TA5 pin 4 sleeve to TA5 pin 1, 3 and 5

i would be very surprised if sound devices lessened support for other manufacturers wireless, but it would make sense that there will eventually be better integration between the two systems. though currently, i can adjust very little via the 688 / SL6 with my A10's. much less than i believe you can with wisy and lectro receivers. but they do sound great. dynamic range has been very good - i was recording scenes last week that went from quiet dialogue to a shout in the same sentence and they were fantastic on my normal gain settings (40dB with a DPA4018 on the boom, 22dB with a DPA4061) gain at -4dB on the 688. transmitter size hasn't been an issue for me so far. but perhaps ive been lucky. but a smaller transmitter is inevitable. i just hope its this side of 2020.

i would expect that you can. as fas as i am aware, the difference between the two is the ability to record with a lav connected. the modulation scheme would be the same. but of course, the most accurate answer will come from audio themselves, whose contact details can be found on their website.

dont know anything about the camera, but i would say, ALWAYS put a sync box on the camera. its over 20 years since timecode was a part of the camera system, and only one manufacturer that i am aware of has included ambient sync technology into its hard ware, and even that loses timecode if it is disconnected from a battery for 10 minutes. since sync now seems to be the remit of the sound department, put a box on there. because it always seems to be us who get the call first when the CAMERAS are out of sync with each other. And if its 3D, i'd be looking into something with a genlock output too.

i stand corrected. thank you.

i would try to use the two XLR line outputs of the 302 into the STA150 as they are +4dB outputs, rather than the tape output which will be -10dB. you are adding less gain at the STA150 then. with the remote audio cable, you are basically amplifying your mic to line level in the 302, then padding that signal back down to mic level with the cable to get into the audio inupt of the ZFR. first thing i would do, assuming you have the equipment you are talking about, rather than considering buying it, is do some testing yourself. i'd trust my ears over anybody else's here - i know where they've been, and their experience level, and i have to use them every day at work. anyone else's ears - not so much (no offence everyone else) the ZFR records in a compressed format, wether it is mono or stereo. i dont know enough to say wether there is any difference in that compression between mono and stereo. but, bear in mind that zaxcom would not hold their position in the industry if the recordings made on their machines weren't any good - try and find a thread here complaining about ZFR or TRX recordings - i think you will struggle.

thats all going to depend on how you are getting signal to the STA150. what are you trying to record, or a typical example. the audio input is a mic input, and the STA150 is a line input. so you'll either need to pad down a line signal into the audio input, or use some kind of preamp if you want a mic signal into the STA. and the STA will be best when fed from a pro (+4dB) line level rather than consumer (-10dB). note that you can record in mono even if you are using the STA as your audio source. just make sure you check wether it is accepting the left or right signal.