Constantin

Yeah, and it would have been great if my 788 had been a Scorpio right from the start, but things progress and that isn’t always possible. New Schoeps mic do come with this latest in capsule development and isn’t it kinda cool that you can retro-fit older mics?

First of all I‘d like to know how you are sending audio from your 633 to the Amira? Cable or wireless? If wireless which receiver and transmitter are you using?

Only a few posts above yours, Karl Winkler from Lectro definitively answers your question

I asked Paul Isaacs about this on Facebook. He said that transmitters can be spaced 400kHz apart, so 16 transmitters require only 6.4MHz. So theoretically 24MHz should be more than enough. And the Nexus can scan basically the entire spectrum up to 1500MHz to find a suitable 24MHz window.

While I have at times been critical of various aspects of Zaxcom, range isn’t one of them. I did only one quick comparison for range between an HM and a 742 (I think) and the 742 far outperformed the HM. In terms of range anyway

Yes you did. Re-read your own comments if you don’t remember. Think „waterproof“ and other bullet-pointss. Then you mused how SD had possibly moved their interests to another market.

Strongly opposed to this idea. While I think the Nexus is a great product, I‘m someone who likes to have backups. So if my Nexus fails, it means I am all out wireless receivers. With your idea I‘d even be out of a recorder, too. And buying a duplicate setup would be that much more expensive. This is exactly the reason why Nova would never be for me. that‘s a really weird conspiracy theory you‘ve come up with there. Just because you don’t like some of the aspects of the Nexus? Tell me how water- or dustproof is a Scorpio? just because you didn’t like the answer you got? Now you think they don’t care about location sound anymore? That’s a very steep hill you’re climbing there

Yes I‘ve been thinking about that, too. With the Nova that’s even more of a potential problem and why I am surprised so many people jumped on the Nova-train

Why do people find this expensive? 4 A20 receivers already retail for $12,180 according to Trewaudio. Add 4 SuperSlot plates and an A10 rack to get even half the features of the Nexus and the total gets to $14755, already as much as the Nexus. That‘s still without any spectrum scanner and coordination hardware or the new Nexlink remote control. Fully maxed out the Nexus sell for like 20k, whereas with individual receivers you‘re looking at 24k just for the receivers. Add 4 more plates and another A10 rack and you‘re looking at 30k vs 20k. So why does the cheaper system get labelled as more expensive?

I don’t have any experience with selling entire packages, but I want to mention that I‘ve had good success selling gear on Facebook. The chance of getting ripped off is much higher, but you’ll also sell things much faster there, as the audience is so much larger. You need to be careful, but the same applies here where many people don’t even post with their name

If you read through this thread I think you will find this isn’t likely to happen

Ah ok, I get it. It’s just that I personally consider the middle mic a waste of time and effort. And, I used to do this a lot as well, with pute ORTF, and I utilised a Zaxcom 742 with a stereo cone. Just put the mic somewhere off set for a good ambience track. Just… make sure no one wanders off with your mic

Strictly speaking this isn’t ORTF, but I get why you are calling it that. I am curious though, why for movie/tv audio you would choose to use a middle mic like that, as your dialog usually already sits in the middle. Wouldn’t actual ORTF be more suitable? On doc work I usually work with an MS boom, based on a Schoeps rig. on the one hand it makes it much easier to quickly record ambiences and so on without needing to change anything. While camera sets up I‘ll often walk around and try to record something. I will always record both mics although I don’t think a stereo rig on a constantly moving boom is particularly useful. The s mic can also help getting dialog between two people left and right from the mic if you find you can’t move the main mic between them quickly enough. Just let each one speak into either side of the 8. for scripted work I don’t use a stereo boom at all, but I will sometimes use a stationary ambience mic, usually ORTF as I prefer that over MS for pure ambience

I really liked that mount at first. It doesn’t matter much if a softie touches the rails, because everything moves in sync. But it’s a noisy mount with faster swings. I think those rails create a lot of turbulence. agree with Rado: get a Cinela Cosi and you‘ll never look back

Totally agree. I also think that it’s unlikely anyone could hear the difference between going from an analog or digital hybrid receiver via line in to the recorder or going digital from those same receivers. So like you said, with those receivers it’s more a practical choice rather than a sonic choice