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Everything posted by RScottATL

  1. I bought the SoundKing DM20 board as an intermediate board to get the cart going on 12V before installing a full AC/DC/Inverter system and board later on. This board will transition to be a playback or backup system. I also ordered the StudioMaster Digilive board but returned it. The buttons have a clicky sound that is unacceptable for our work. DM20 consumes as much power as my Nomad. Two L7S NP batts will be fine for a day of operation. The eight XLR outs may be used on any of the 12 aux bus channels (1-4 mono and 5-8 stereo, you can use 5-8 as 2 channels of bussing), so you have plenty of routing flexibility for ISO prefade sends. The AES 1/2 mains Output may also be routed, so I use channel 1 for mix and channel 2 for boom ISO, giving 9 ISO channels plus mix to my Nomad. Less than 2ms latency claimed, I have not tested this yet. Additionally, the only mic preamp I use is the Nomad's Neverclip preamp, and route an output to the board. All other sources are line level to the board. Self-noise of the inputs is low. I haven't been able to hear any crosstalk when testing. Board withstands all my radio mics and Zaxnet blasting directly beside the unit. Sound quality is good, I would say above average for this tier of product, but you will notice on a Nomad or 788T that you get what you pay for. The high end recorders and mixers we use sound better. This sounds good enough, but don't expect best sound from this unit. I would expect support to be non-existent. Your support system is a backup solution. This would be an EXCELLENT playback board as the routing flexibility is very high. The fader caps should be replaced, they are too shallow. The startup time is like 30s or so. Touchscreen navigation is decent and responds quick enough for our work.
  2. THSnoddgrass, I also had the issue of Zaxnet whine on my M-216 transmitter. Switching to the BST-75 216 in my bag, with balanced input has eliminated the whine for me with my Nomad 12 Zaxnet transmitter. On the M-216 you could start hearing the whine with Zaxnet power set to 4 or 5 (of 7), I believe Nomad uses a 50mw transmitter.
  3. Here's the deal with Zaxcom in my experience. You have to buy in for the features and commit to repairs, quirks, software flukes and the like. These are not very commonplace in my experience, but they do crop up and you have to deal with it. Just like many other pieces of kit available to us. All of our equipment is expensive, and some work better than others. It's just the name of the game. With Zaxcom I've had a fair amount of parts fail over the course of a year of use but also would not consider the repair costs out of line with this business. Stuff happens and then poof you just spent $400 getting your kit back to where it was yesterday and it's down for a week or two on shipping. It happens. So the best thing IMO is to plan that you'll need to pay out from time to time to keep even straight from the factory Zaxcom equipment in spec. So, if you can commit to buying equipment from a specialty, low volume manufacturer, then you have to decide if the hassle and cost of maintenance is worth it or not. If you want something extremely reliable that will work well and never let you down, then I'd go with the options most of the mixers in your area are using. It will be easier to get replacements when stuff goes down, it's easier for others to use your kit. When you go Zaxcom you're in a smaller community supported by a smaller company. It's just more expensive. You're paying more than the MSRP.
  4. What is predelay? You can delay analog channels (but not digital, I think) on Nomad this is what I've been doing for years with my wireless. Would a timecode stamp shift in fractions of a frame be sufficient to have your mix be "real time" in relation to your delayed boom track?
  5. Hearing loss is typically most prominent and most irritating / painful at the higher frequencies. Higher frequencies tend to get damaged faster, hence why the dBA scale is chosen for measuring SPL for regulating exposure levels. There doesn't seem to be as much information out there regarding low frequency hearing loss related to low frequency exposure. The damage is less noticable even when it has happened because higher frequency harmonics usually exist so with low frequency loss, the brain can use harmonics to discern and understand the missing low frequencies (see audio plugins like Waves MaxxBass that add harmonics to increase the perception of bass even in speakers that can't physically produce the lowest frequencies). So, less is known about low frequency hearing loss, it's harder to detect when loss has occurred, and our measurement for regulation purposes uses a scale that is not very responsive to bass, so clubs can pump far more bass without overloading the regulating instrument (if any is being used at all!) Probably means we should tread with a bit more caution. Also, I don't imagine proper measurement is being used in many clubs or if it is, it's being circumvented. The sound levels at a Bassnectar show I attended were unbearable. Even with earplugs, the mids and highs left my ears severely ringing and I know just from my time calibrating safe monitoring levels for post, they were far above what I'm familiar with as a safe level. Indoor clubs and venues are an even bigger concern. Sound levels aren't an even spread across the room. High frequencies find resonances on wall materials, the ceiling, etc. Bodies block high frequencies pretty well, so a measurement in one spot in the room could be totally different from another. Low frequencies create massive nulls and peaks throughout the room and listeners in the back row by the wall or corner might be getting pummeled with bass that's not present at the mixing or measurement position. Stay safe, and if it's a health concern, stay away, if possible. Excessive SPL exposure is a big concern of mine. I wish the industry would get serious about regulation. It's way out of hand and modern soundsystems are so incredibly capable, especially at the huge EDM/rap festivals that are all the rage these days. http://www.sciencemag.org/news/2014/09/sounds-you-cant-hear-can-still-hurt-your-ears
  6. I love the additional RF outputs, compared to my Micplexer II, though I will say the RF metering on the MP2 is an absolute great feature. Even if the RF isn't showing at the receiver, it let's you know what your antennas and distribution amp are getting. Regarding (any brand) filters on your RF distro - it's such a huge help especially when using VHF for your transmitters to camera alongside dipole antennas. The MP2 is steep enough to help out when your camera wireless are only 30-50mhz away from your talent wireless. The Micplexer 2 metering gives me a great sense of placement for my camera wireless transmitter in the bag. Both units need a pass-through RF with wideband filtering. It is very very difficult to set up a filtered RF distro solution if your wireless are not ALL within 35mhz or ALL are wideband. Many of us have various blocks and would still like to filter the majority of them without losing the rest or creating a hodgepodge RF scheme with splitters, and extra single filters like Lectrosonics PF25 and PF50.
  7. Here are my initial impressions Since using this and the OR10 smaller wheeled case, I'll say build quality is good, mostly. One of the looped main zipper pulls has already broken and the plastic runners for pulling it onto curbs is scuffed pretty good. The inserts are more floppy than they should be and the soft walls won't grab them to hold a ton of weight, but for general use this is not an issue for me. I do think I will build out a proper, rigid mini cart with full rack system when I pursue more bigtime film stuff but for small budget film stuff it works great and looks professional on set. For any day playing on interviews and other stuff it is a godsend and is absolutely perfect. For reality run-n-gun stuff, it's too big if you're a one man army and is probably bigger than you'd want to work out of the back of a Town and Country anyhow. Orca makes several great medium and smaller rolling bags, so it's really a matter of how big your setup needs to be. The telescoping handle is rigid enough, the wheels are great, it is fairly balanced for going over uneven bumps without tipping sideways.
  8. My understanding is that the packs transmit at 32khz (roughly to 16khz audio). If you want an idea of how this sounds, try taking your current wireless system into a DAW and roll off at 16khz. From a post sound guy - for voice recording, you will never hear it. For classical music recording, well, shucks why are you going wireless? The files you record will be in whatever sample rate you set, with the super duper high frequencies not present. You won't miss them except on the forums.
  9. Glenn, is this (interference resistance) for the same reasons you're able to achieve better range and obstacle penetration?
  10. Microsoft Surface 3 is a great small tablet and Surface Pro 3 or 4 if you want larger. I would absolutely not recommend an AMOLED display like the Samsung Windows Tablets use for stuff like Touch that show similar graphics for long periods. I've been through about 4-5 phones with Samsung AMOLED panels and all of them show burn in after a year to year and a half. LCD tech for sure on the Nomad Touch.
  11. I had this exact thing happen two days ago on version 9-16. Downloaded the latest firmware and put the card in holding up and down on the TRX on boot fixed it. First boot hung with the number on screen. I think I didn't set up the SD card exactly according to the instructions the first time. Howey from support@zaxcom.com also emailed me additional files for recovery but I didn't need them. Email me at rscottbeatty@gmail.com and I'll send you his email and associated files.
  12. From my second-hand (or third-hand) knowledge, I have heard that Arri has commissioned the 5 pin small connectors from Lemo and Arri sells the connectors and associated cables, likely for an exorbitant amount. Take that for what you will, I have no guarantee this is accurate. Most problems with the Lemo connectors are due to difficulty wiring them. They are VERY easy to wire poorly due to their size. I can't imagine 5 pins in one of those connectors. I want to die a little every time I wire a Lemo 3. Reach out to me if you're wiring the 3 pins. I have some tips that can help you get them wired and protect them from shorting against other pins and the metal casing that's about 1/2mm away from the pin wells.
  13. I'd also open up the DB25 connector and examine the pin configuration. Perhaps it could be as simple as a mis-wiring?
  14. I use a tactical fanny pack from The North Face. My bag only holds my recording and wireless equipment to keep the weight down. Problem I was having with the front pockets is the weight is furthest from your body so it's leveraged. Not a big deal for tape. Big deal for extra batteries and stuff.
  15. Two photos of SNA600s on a selfie-stick rig. Selfie stick with threading adapter to K&M stereo bar. Can be collapsed and lowered or widened and raised up. SNA600s can also have their mounting hardware removed and velcroed flat onto the bag or other surface. Hand-sewing velcro onto an existing bag is doable. Some bags have rain cover velcro attachments that work.
  16. Tried one out at Gotham the other day. Good, usable range, even at 50mw and it hid no problem in my hat, with a mic taped to the brim. Others couldn't tell I had a TX stuffed in there.
  17. ​You implement a headphone compressor/limiter that the user calibrates per headphone to set the max SPL that he wants to hear ever. Then, no matter how loud you have the program dialed up (say, volume jacked up in order to listen to background noise quality), your headphones will never exceed into a damaging range. This is VERY important and every manufacturer should do this. This is a very easy way to allow your record tracks to handle gunshots, door slams, etc. without your ears needing to as well. And this is much easier and less scientific to do than you would think!! You just have the recorder play a sample recording of a voice talking at a normal listening level and have the user dial their headphones to where the voice is at a "normal" listening level. Then the recorder knows pretty well what SPL the voice naturally would be and can figure how sensitive the headphones are. The user then sets the Max SPL to, say 80 or 84 or 90 and it's done.
  18. Thanks, Larry. These changes may well get me on board with the super miniature transmitters. The Lemo is a factor I love as it will work with my 2000 series Senny and Zax stuff. The 6 hour battery life is a critical change that really puts this into something I could take advantage of in unscripted work.
  19. I don't have any other pics, what you're looking at is the mic on the left of the wire, the support tape on the right top. Mic is COS11 in a vampire clip, with the metal windscreen and a fuzzy overcover pulled over the top like a hat. Around the overcover I use a thin strip of moleskin to wrap around it and hold it in place. An inch down the wire I have two strips of moleskin stuck together, sandwiching the wire. This second support part stickies to their shirt down from where the vampire teeth dig in at.
  20. This setup worked very well for me miking runners. Zaxcom transmitters set to record. Vampire clip with Sanken COS11 and the metal windscreen, with a rycote overcover over top. This setup will handle a ton of wind. The thump thump thump comes a lot from the cable tugging on the element. I used a moleskin sandwich (moleskin with topstick, then the wire, then moleskin on top), though you could easily tape a TRAM wire holder vampire clip and get the same effect. The moleskin sandwich does two things. It keeps the vampire fangs from coming out, and it keeps the cable tug from getting to the mic element, or really anything that hits the cable (chest, etc.). You could also sew in the topstick to the clothing (if possible) to keep it from sweating out. When I say this worked well -- it worked REALLY well. I was super impressed with the end result. You could hear thudding of feet on the ground, but the actual noise caused from the mic moving around was very very minimal. This wind treatment works in very high wind, and will sound good with a tee shirt over top. Anything heavier than that and it will sound buried. One cast member had on two tee shirts. It sounded not as good as possible, but not beyond fixing in post with a shelf EQ.
  21. Call Sennheiser. They are always easy to get ahold of a real live human and have always given me amazing service and support.
  22. I'm sure some clever folks will sort this out on the cart. Will likely need it's own dedicated wifi hub. I'd bet you can find a qualified IT person to pay to sort it out for a tidy sum.
  23. Not sure if it was mentioned, but a number of remote desktop apps might let you control this from your wifi tablet or phone.
  24. I've been wondering for a long time what direction to go with a hybrid microcart as my first cart. This solves that question. Thanks for posting this inspiration!!
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