Doug Beatty

I did it to tighten up the TC Out BNC. Lots of little screws, but the housing slid off just fine. If you have ever dealt with PC builds and pinning jumpers to mobos, you'll be just fine.

Neverclip sold me on Nomad, and for my purposes, I wouldn't roll without using ISO attenuation because of the advantages of avoiding limiter distortion. Even then, I still engage card track limiters as a safety net. However, in order to monitor I have to route my HP to neverclip card tracks and crank the headphone amp to compensate (not a fan of this method) Alternatively, I route my analogue inputs directly to my output busses and monitor them which allows me to better hear what the ambient noise will sound like when the levels are brought back up in post. I prefer monitoring this way since I'm often hopping a non-attenuated signal to camera for scratch. The problem with monitoring outputs instead of neverclip tracks is when you play back a take, the card tracks do not route themselves to the output bus. I'd love an option to do this because the headphone selection, while robust, is one of the clumsiest parts of Nomad's UI and it's a pain to keep switching back and forth.

I had a previous beta unit that was faulty and I returned, but DPA made good on a swap and I'm happy to say this new mic works well with TRX900LA w/ XR modulation. Apologies in advance for my non manicured workman's hand. The newer units have been re-designed at the microdot connection (red plastic). As you can see on the adapter end, the gold connection points are crimped instead of a solid ring and there is no more rubber gasket at the base of the threading. On the microdot end, the shield is a little thinner and there is a little more distance between it and the center pin than on the previous build. The strain relief is also much longer on the wire. Not sure if it is part of the solution, but it's a little nicer.

One of my DPA 4061 got stepped on yesterday (don't ask) but luckily it was in the DMM0012 and it shielded the mic and didn't crack. I use mine w/ super stick it on well over half of my concealed set ups and it works well. On more than one occasion, I have had talent jar a TX loose during a scene and after I'm done crying I find that the mic hasn't come loose even though the SMQ is dangling. Clothing noise is inevitable on scenes with dynamic blocking, and I have yet to find a 100% wardrobe noise free solution for concealed mics. If I discover one though, I'm bottling it up, selling it and retiring.

Hard to recommend anything without a budget, so I'll put 2 options out there: 1) Nomad 10 w/ QRX200, 2x TRX900LA2, and 3 ERX ($10,775) - You have now added 2 wireless channels w/ time code, 3 timecode box/IFB/camera hop, Zaxnet possibilities, wide band switchable TX/RX + nerd bragging rights 2) 633 w/ SRb, 2x SMQv, Comtek 216 TX and 3 RX ($9,815) - You have now added 2 wireless channels, time code, 3 IFB This illustrates that Zaxnet does really save you money on peripherals and has a really well thought out and versatile feature set, but has the steepest cost barrier for entry. The 633 package is more than capable and in a smaller form factor if you don't need all the bells and whistles. Of course, I would check consignment and used sales for a deal. People have been unloading some awesome SD mixers since the 633 release and more than a few Zaxcom QRX100s and RX900s are popping up as folks are upgrading. Above all else, please rent before you buy or at least ask your local dealer for a demo just to see what feels right for you.

Are you using XR on the TRX900s w/ v3.x on the QRXs? Also, what flavor of TRX are you using (NC vs LT vs LA vs AA)? This is also my concern. I don't think anybody has used LA2s w/ 200s yet and I'm holding out hope that this will be where range will be significantly improved upon in single mode vs. QRX100 w/ TRX900LA On the other hand, I can now see a clear advantage for hanging onto QRX100s vs 200s if your bag has a mix of blocks and you are invested in a wideband distro. As of now, the 200 series is limited to use with a micplexer in a specified block, so it nullifies any wideband advantages you would have if you are in a situation where remoting the antenna is your best bet.

I've run 10-15 minute takes with adaptive mode and a boom 10 feet from the camera and fan noise hasn't been a problem. Obviously 'YMMV' and 'it depends' but I'd rather have a fighting chance because there is no competing against jet engine mode when it happens.

According to engineers at Red, Dragons are designed to run hotter and have a small on board heater in cold weather shooting situations to get the core temperature up. MX cameras like being 60-65 degrees celsius and reports from users are that Dragons are comfy around 70. I haven't been around a camera with the new fans, but the newer Adaptive Preview-Quiet Record setting in later firmware is far and away the best option for sound. It eliminates the sudden 'jet engine' mode during long takes with fans set to low speeds on manual.

I may speak for myself, but I started in the business because I like making movies. It's fun. When people create a miserable working environment for whatever reason (lowball rate, obscene hours, dangerous sets), they are the ones who are robbing you of your longevity. They will burn you the hell out and they don't care because there are 7 other kids right out of AFI ready to do your job. Those people are monsters, and it's hard to swallow when monsters become successful.

Back on topic, I just picked up a unit with the DAD adapter to field test with a TRX900LANC on Friday. A big thanks goes to Ryan at Trew for coordinating with DPA.

I'm not sure if it's on HBO Go, but the making of True Detective had some BTS footage that showed a two boom set up with MKH50/60 and CMIT. IIRC, another shot had a 3 boom set up. Another awesome thing was that the producers hired an animal handler to bring in a bird of prey to some of the exteriors- not to be on camera, but rather to frighten away smaller birds to allow them to capture clean dialogue. That made my heart grow 3 sizes.

Well, to throw another wrinkle out there, my bad DPA is a newer model using the microdot and adapter and good DPA is an older hard wired version.

Glad you asked, self! I did test this out today and unfortunately RFI is still present even when using the new modulation. Too bad! I just tried a fresh TRX900LANC card (872) on Zaxconvert 6.21 and I'm getting clicks during playback on the resulting conversion for any sample rate I choose above 32 khz. My OSX clock source is 'Default' at 48 khz and the converted audio from the TRX900LA (819) through Zaxconvert 6.21 doesn't have the sample rate clicking when exported at 48 khz.

Careful with the new modulation! As is stated, it's beta and shouldn't be used on jobs. I just found a bug when attempting to use Zaxconvert 6.14 on SD card recordings using the new firmware. I tested all my cards on a TRX900LA (819) running an older release build and they work fine - 4GB Transcend, 8GB Kingston, 16GB Sandisk When recording onto a TRX900LANC and TRX900LT (870) using the beta build, there is a nasty pulsing LTC static when you run the conversion.

Called and left word at Zax HQ, but just in case someone reads this before I plan to test on Saturday and can give a response: I have a TRX992 that was sent to a certified Zaxcom tech and upgraded/recalibrated to the 7.30p threshold. Would this handle the new modulation scheme?

Over on the Zaxcom forum, Howy says that the RX900 series uses 15 year old DSP chip technology and it's already maxed out. It's literally impossible to accomplish.

Did you do a test with DPA lavs? Hoping the new modulation will solve or greatly reduce RFI.

Hoping the new TRX modulation scheme solves it!

Here's my lay understanding: *Edit- I am still confused about the naming scheme, or why would you name the lower cost RX with a higher number (QRX235) and the higher cost wideband RX with tunable 35MHz filter a lower number (QRX200)* Unless Zaxcom have figured out a way to get around the laws of physics with their new devices, if you want the flexibility to choose any block with maximum range you are either going to need a wide band diversity shark fin set up -and/or- 8 sets of whips (ouch!) for each QRX235 and 4 whips for each TRXLA2 per channel. It has not been divulged whether or not this can be a hardware upgrade to existing QRX100 boards, although I have my credit card waiting if that announcement comes.

What was your antenna distro for the range test, Jack?

I upgraded my camera last month via free download to add more features, frame rate options, and a massive UI improvement. This is the same camera you probably hate, but in 6 months, it will be serviced with the latest and greatest sensor, logic boards and cooling fans as a paid upgrade program. It's rare, but it does exist as previously mentioned with the SR trade in. Heck, even Sennheiser had a buyback program where you could at least get something for your outdated wireless.

OK Google, search 'Rexelpcim'

^^this^^ <pity party> My LANC is 6 months old and it's unusable with current DPA lavs </pity party> How about a faceplate trade in program for QRX100 owners that just got a free software upgrade to QRX235 (is it just me or is the naming scheme getting a little out of hand)? Or, you know what, I could just take a sharpie to it! Also wondering if this spells the end of the Micplexer going forward.

6 Neverslate - Autoload slate w/ Nomad 7 Zax Bag - Zaxnet amp built into the bag that attaches to built in dipoles inside harness to quadruple 2.4ghz range 8 ZPole - Modular boom pole-transciever. Runs off phantom power or battery sled. Has TC I/O, mono recording, and adjustable DSP. 9 ZPhones - ERX built into headset for half the price of ERX2TCD

QRX feature request: enable 992 boom op talk back function