rich

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.

you're welcome. glad you're all sorted.

ive not used the Schoeps version. but have 4 of the DPA MMP-G looking at the specs, as long as your radio mic will provide 5v, you have 122dB max SPL. but Schoeps and DPA use different powering methods for their mics - the DPA are electret mics, which i suspect helps get around the limitation Schoeps have found with the CMR accessory.

ok. if you are using a booster, then it makes no difference if you feed the L-com from the ifb100 or the nomad. as long as you are putting enough power into the amp it'll be the same either way. i had better luck with a patch antenna than a (not L-com) 1W booster. however, none of that will make any difference for your situation.

the only other things i can think of for cards not going into record is either -a card issue. when i first started using zaxcom. many many years ago, some brands of card wouldn't record reliably. they would go into record, but hen stop very quickly. i think the TRX is a lot less fussy about what cards it uses these days. but what cards are you using, and do you have different cards to try? - if you start up the unit into the extended menu (hold down menu on boot up) it wont go into record until you either reboot, or tell it to. one more question that just ocurred, if you manually start the units recording, do they then behave as you want? re reading your original post, it does sound like transport commands are being sent somewhere. just want to make sure, your Nomad does not have the IFB board option, and that the ifb100 is the only zaxnet source you are using. its been a while since i sold my Nomad, make sure there is no transport command option enabled in its menu. if you want your units to record constantly, do not set anything to autoload for timecode. also, what is the timecode output set to? generator or card? if it is set to card, it will not output timecode until you either record or play back, which may not be helping things.

in the ifb 100, turn off the transmit transport commands setting. you should be in autojam - normal mode, and as John says, record on bootup should be on

you can test it if you are able to plug into a unit that accepts digital and analogue ins and has adjustable input delays and a phase reverse. plug the analogue and digital outs into the above mentioned recorder, flip the phase on one input, send tone or any signal from the machine you are looking to test, set the gains on the second recorder so that both inputs are equal level, fade them up equally, the adjust input delay on whichever channel you think will have the least latency until you get the most cancellation. bear in mind though that AtoD and DtoA will affect latency. though if you are lucky, the designer of your machine will have considered this and compensated. and hopefully, there is not a change in latency at the machine you are using to measure this.

the A10's are physically the same as the 1010. i have had no issues, or complaints with hiding them. yet.

build quality of the 1010's is excellent. though the units are comparatively large. about the same size as the Audio 2040, or the Lectro LT, and a bit bigger than the Zaxcom double AA battery models. the 1010 does have gently rounded edges which helps them be a little easier to hide. no belt clip as far as i am aware though, but i have no problem with that, as its usually because of belt clips that transmitters end up bouncing off the floor - clip a tx onto the back of someones waistband, have them sit down and stand up and see how much the tx has almost popped off from where you mounted it. Lectros get used as ammunition in their ads. both zaxcom and lectro have very small tx's based on the NP50 battery, though does mean you are using a system with a battery of uncertain life span. AA batteries are great because you can walk into any corner shop and get some. and i would expect them to be available for as long as my transmitters are serviceable. the NP50 battery is a consumer battery, and who knows how long its manufacturers will continue to make it? will they still be available in 4 years time, bearing in mind that i would expect to get 1 - 2 years of useful cycles from a rechargeable battery. zaxcoms build quality has never been great, i'm sad to say. every version of their black cased transmitters (not talking of the original ones) had a small gap at the bottom of the screen that moisture could get into. and the magnets holding the battery door closed would occasionally get pulled out. as well as issues with higher than you would expect failures from new. i should, in fairness mention that of the 6 1010 i bought, one was returned to Audio due to a popping issue which turned out to be an issue with the RF board. happily, they are an hour drive from my house and an updated board was fitted to all of my tx.

some things to bear in mind between zaxcom and audio digital zaxcom 50mw setting is approximately 30mw in old money. zaxcom use peak output, and most analogue system manufacturers use average output. if you use high output on the 1010, which is 50mw (average) battery life is significantly reduced. i use mine at medium rf output and get 5.5 hours on rechargeables. i got the same with zaxcom at 50mw setting. with the audio at high rf output i didnt get that much of a range increase compared to med. with any system, a decent rf antenna setup and rf distribution will achieve far better results than pumping the tx power up. system delay isnt really an issue with the times we are dealing with here. all small fractions of a frame, so not noticeable in post. assuming you are using all the same radios in your setup, then everything is the same relatively, so no issues. if you are in a bag and running a hard wired boom, being able to delay that - and having the accurate system latency figures is useful. note that lectrosonics, and wisycom, have latency in their analogue (or digital hybrid) systems due to their use of DSP. i think that any high frequency differences between zaxcom and audio will be down to preamp sound / eq of the system, rather than zaxcoms high frequency cut off at 16 KHz. most of the important dialogue frequencies are well below that.

if one is good, seven will be that much better.

it was for aluminium ones. i remember getting my oldest one updated to have the internal resistors fitted so that they wouldnt need to be done in the connector.

you are correct. put the resistors in the XLR. when you tin the screen for the lemo end, dont use all the wire, leave some loose, then when you push the crimp part onto the cable by pushing it onto the stripped wire end, it will take the loose shield wire with it, which when you assemble the connector makes the connection between pin 1 and the shell.

from what i remember of using the 2020's - its been a fair few years since i sold mine - i think you are running them too hot, which is why you are hearing the pumping when things get loud. at least consider dropping the gain for loud scenes. i havent used a MKH60 with the 2020, but i think we use to run a 416 and CS3e at gain of 4 or 5. though on initial testing we had to turn the gain up by one as we could hear the compander fluttering at 3. this was using the VdB bombe.

That does sound like you are getting into the limiter. What gain are you running your tx at? I used to use 3 for a cos11. 4 for a DPA 4071. That seemed to be a good all round level for all but the loudest shouting.

neither are really an upgrade. the EN2 is a downgrade i believe. the audio wireless are on a par with the 2020 sound wise. all you gain is AA batteries for the transmitter and possibly more tuning range on your system depending on what range you have with your 2020's. (mine had an 8MHZ range, but they were uk specific ones). might be worth looking at getting 2040 transmitters as they are more efficient with the batteries compared to the 2020, and the mini tx are a very good size. and will work with your existing receivers. the 2020 (and 2040) system is rightly well regarded as an excellent sounding radio mic.

this is a feature available in the 1010. and what i was referring to. i am waiting mildly patiently for my A10s to arrive.