Erkal Taskin

Can anyone using this combination post a photo?

Thanks!

10 minutes ago, Bash said:

Hi Erkal, and yes, Zaxcom and Audio Ltd send digital, ones and zeros, as their radio transmission. None of the other manufacturers do this with a portable receiver (though Sennheiser have shown a portable receiver, so they will join the club soon).

Digital allows numerous things that analogue cant do, so, for instance, you can pack many more channels into much less spectrum, eg analogue in an 8MHz block you'd struggle to get more than about 8 channels at the same time, with digital you can get twice that or more. Basocally you can tune the channels in closer to each other and they wont interfere. Plenty of other advantages also.

Hope that this helps, sb

Good to know, thank you. Never experienced fully digital. Would love to know how it compares side by side. 

1 hour ago, Constantin said:

 

The signal gets converted to a digital signal and never gets converted back. Lecto's is a digital hybrid system, which in everyday life doesn't really matter, in practical terms it's really analog. Wisy is, afaik, entirely analog.

The main advantage to me with digital wireless is that you always get the full signal. There is no radio crackle or whatever, only the full clean signal. On the other hand when it does go out of range or there is an interference, you lose the signal completely. So it's all or nothing

So they send digital data across radio transmission? 

I think Wisy is digital hybrid, like Lectro. It definitely has some DSP in it however I am not really sure how that differs from this one. 

Why are they not dual channel like some other slot receivers? What is special about them? 

They are digital. Other than Zaxcom, who make a dual channel Rx which is digital, no other manufacturer makes a digital Tx/Rx system with small receivers.

When you say digital, how are they different to Wisy or Lectro?

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Why are they not dual channel like some other slot receivers? What is special about them? 

So you can basically only route everything to 2 tracks but there is no fader adjustment, is that correct?

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You can route any combination of the tracks to any output.   The Mix tracks are just 2 additional tracks that can be assigned internally from a combination of other tracks. The 4 knobs on the front are currently fixed to the gain of whatever's set as the 4 XLR ins (although this should change in v2.0).  

Got it thanks.

Any news on the release of v2.0 then?

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So you can basically only route everything to 2 tracks but there is no fader adjustment, is that correct?

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9 hours ago, Richard Thomas said:

It's currently not possible to record pre-fade isos or control any levels of tracks not assigned to the xlr inputs with the faders on the front.

With the 5pin output and this it should be a proper mixer/recorder.

Look forward to the ambisonic monitoring. A format monitoring would be very useful, allowing the dynamic range on the r4+ front end to be used with mics like the sps200

Hey Richard, sorry I am confused now. Are you still not able to mix into a separate track? 

They should be coming out soon. I will go for the non-tunable one which is even smaller, he let me use a prototype on a feature pass summer, worked perfectly fine every day for 3 months and it's a huge space saver compared to his previous distro. 

Just now, Constantin said:

It could also simply be a faulty unit...

I hope so. Sonosax pres are meant to be one of the best.

On 1/13/2016 at 9:15 PM, Arn said:

Hi everyone,

I have been using my deva 5.8 pre-amps on set the last couple of years, but sometimes got annoyed by pushing the self-noise up with silent dialogue-scenes.

Using the mix-8/ loving the fact of unplugging 1 cable when having to go in the bag and using the zaxcom wireless, i thought about buying external pre-amps going digital into the deva. (avoiding a big mixer-table,lots of cables)

I bougth a sonosax sx-r4+ one month ago, loving the workflow of the machine, but gave it back to the dealer after 1 day since it gave much more self-noise then the deva itself.

My dealer made tests comparing to a SD744 and came to the same conclusion. Communicated these results to sonosax-suisse whom had comments about how these tests were made, but at the end confirmed that these are normal sx-R4+ results.

 

Anyone having the same experiences with the noise-level of this machine? (heard it are other pre-amps than the big sonosax-tables)

 

Anyone other advice on 4 good preamps? (my kind dealer probably wants to retake the sonosax sx-R4+ since it totally lost his purpose for me)

 

 

(this one day using the sonosax on set i got les noise on my zaxcom-sanken-lavs then the sonosax-mkh50-boom 20cm's above the talent's head)

cant believe the sonosax-response...

 

greetings from belgium

arne

 

 

 

 

Would your dealer be up for reselling it as b-stock? 

22 hours ago, Jeff Wexler said:

Is anybody worried that the 688 (6 series) recorder IS the successor to the 788T? My hunch is that there may not be another 7 series recorder --- what we might see from Sound Devices would be a re-vamped 970 (9 series?) cart only recorder with a hardware interface, digital mix engine and mic preamps (all things lacking in the current 970).

I feel the same but I am still hopeful that it might not be true because I really don't see myself buying a 6 series ever which means its soon time to move over to another company, a new Cantar would be dreamy. 

6 minutes ago, Peter Mega said:

Well if you're like me and extend and retract the pole at very fast speed, the lav cable idea would last about a minute. I wouldn't bother, speaking for myself only of course. 

Well if the cable is stretched then you are right, but I think it will be safe if you use cable that is maybe 30cm longer than the maximum length of the pole, this might also stop it from shaking inside the pole as it will be loosely collected there. I think it should be a soft cable like the COS11 ones. 

23 minutes ago, Peter Mega said:

It's a normal mic cable. 

If you primarily do reality and doc work, forget the straight cable. Drama and films is about the only type of work you'd be able to use it. 

The cable exits the bottom of the pole and to describe what happens in a very course way, it ends up on the floor when the pole is retracted thus needs to be wrapped/coiled up like a loose mic cable for example. 

You our would get very frustrated with it in reality/doc work. Stick to your internal coily cable. I have a K-Tek K152CCR and love it. At times, I'm quite an aggressive boom swinger in reality TV and have very minimal noise from it, if any.  The benefits of not having external csble to deal with in these situations far outweighs the occasional knock/slap from the internal cable.  You will get used to it. 

Get a good mount also. 

Ahhh OK so its basically like using normal cable except its partially inside instead of being wrapped around the pole. 

I wonder if using a very soft lav cable is worth trying. If its soft enough to collect at the bottom as it collapses and loose enough to not shake within the pole, it just might work... 

18 hours ago, Jeff Wexler said:

You're right, Rasmus, it's two realities at odds with each other: "as the pole colapses, the interior space will get tighter and tighter, while the cable will basically do the opposite". So true. We have experimented with different materials for the coiled cable but for the most part a material that solves potential noise problems introduces other problems like durability issues, shielding issues, etc. It is for all these reasons that I have continued to use the original internal cable design which is a straight cable, not coiled.

I don't get how straight cable can work, where does the cable go when you collapse? Is it a very thin cable, like some sort of high strength lavaliere cable? 

1 hour ago, Constantin said:

So, no one's ever had problems with cable noise, because it's a matter of technique. Is this technique so easy that it doesn't need to be practiced at all? Or did you practice this at home before ever booming?

I have been trying this "technique" since I own a noisy boom pole now and its basically about moving around without making the internal cable wobble inside the pole. You just need smoother swings...

I am not sure how it will perform when you need to run around but I guess its a compromise for not having to deal with cable.

I am thinking if there was another sort of coiled cable that was coiled almost as large as the poles interior, it would move around less but then it might obstruct the sections when collapsing the pole. Maybe someone has an idea...

13 hours ago, Eric Toline said:

Cable slap is caused by an internal cable hitting the inside walls of the pole when the pole is moved too fast and inertia takes over as the cable keeps moving even though the pole has stopped.

How do we stop it?

38 minutes ago, Patrick Tresch said:

Hello Erkal,

I hope Pierre or Jacques will chim in for the fonctionnalities. I understood that this is an option for some specific applications. I think you can change the type of the whip if you think it will brake (I'm not shure about what type of SMA antenna). On the 3/4 picture you can't see it but the connector is quite far away from any knobs. 

Hi Patrick, 

Thank you, that is definitely a better option obviously but still curious about the idea behind adding an antenna now since no antenna works anyway? New features of some sort maybe ?

19 minutes ago, Patrick Tresch said:

Hello,

Here a picture of the R4+ with the bigger external Wifi antenna option.

What is the advantage of having an antenna vs. the normal system? 

That is a very bad choice for an antenna and antenna placement btw. Those antennas snap pretty quickly and its placed right in the work area. 

14 hours ago, VAS said:

From Noyz Boyz, Facebook account:

Ahh I was there and missed the new batch by 1 day, didn't even get a chance to demo one...

Is that a wifi antenna on the right? 

OK so the noise is normal, I just have to learn to work with it. I guess I can do that, just not used to a noisy system since external cable is literally 0 noise. 

I thought internal cable was a big thing in the US, surely someone must have an idea?

Well if I had a car I would get one stand with the wheels and save my back from having to lift the whole setup every time the camera wants to move a few inches. 

I am having the same thoughts as well at the moment.

So far I always borrow from light crew and they always use Avenger, which I think it works perfect. Its not the lightest but its really sturdy so I was planning to get an Avenger Baby Alu 35. 3m up and 3m across with my Panamic should be enough for most situations. 

OK so after years of being skeptical about internal coiled cables while hating to deal with cable on single man jobs, I finally went and got myself an Ambient QX565 and its internal coiled cable kit.

I just installed it and realised how much noise it makes when you wiggle, move, turn. 

Is this normal or did I do something wrong? Is this the compromise for not having to roll up cables every two minutes or is there a way to make it silent?