Constantin

A mixer friend of mine from Germany was asked by the director to wire all actors all the time on a production some years ago. He was also asked to keep all wires open on the Comteks all the time, even if the actor was not in the shot, or during breaks. The mixer refused and after some back and forth got fired in the spot. To this day he has no regrets

Exactly. Or, as my customers please.

I was wondering the same thing. I presume the tongue-in-cheek refers to the "in part" bit, when actually that was all?

Why does identity = eligibility? Sorry, I don't see the connection. By the way, the vendor will already have all my info and they can reference it to the serial number. (BTW, thanks for adopting the new quoting system, Senator. Really makes it much easier).

Over here, I just have to show my purchase receipt to get the warranty. I am not talking about a free-for-all email list. I said the only info required should be the email address AND the serial number. But even if it were a totally open email-list, what's the problem? The price I pay to be eligible for product-issue info, should be the price I paid for my gear, not a card I did or didn't return

I didn't get at first what you were saying, but now that i do, I very very strongly agree and diagree. I strongly agree that the malfunctioning recorder and the remedy IS the crucial part of this thread. And I very strongly disagree that it's sufficient to use Google to find this thread in an emergency situation. The title is crucial. If the new title of this thread came up in a list of search results, anyone looking for a solution for their problem would probably skip this thread. Please, Jeff, turn the title back or to something more meaningful to the first part of this thread. Or split this off into two threads.

The laziness is not mine, by the way. But there are problems with filling out warranty cards, too, regardless if they come in online or paper form. Mostly in the form of data protection. In Europe we have fairly well established warranty rules, regardless of a card, so I never fill them out. Not for laziness, but because I don't feel like divulging more info to a manufacturer than I need to. But I don't think I should be required to fill out a warranty card just to receive info about a problem with a piece of equipment that I have purchased. Email list is quite sufficient

Filling out a warranty card is on a totally different level on the "laziness scale" than signing up to an email list. Especially when I only need to enter my email address and serial number. Another factor, quite possibly, is the tremendous amount of trust we have in "our" manufacturers

Remoting the antenna and finding a good position for it is step 1, of course. Attempting to get a better position for the rx is step 2. an amp could be step 3. Sennheiser make fairly cheap ones for the G3 system.

I do have a feeling like we went over this already, but no one is talking about absolute perfect sync. No one says we need this now. And if they were, they woudn't be after reading this thread. The point is to avoid having to fix the same problem twice, once in telecine, or at the assistant editor's station or wherever, and the twice in sound post after re-conform. And maybe even once more after the foley session, and then again after... It goes on. Frank really said it all in his posts. I don't know why we have to keep going on and on about the fact that no two devices will easily ever run in sync and that there are many other potential sync problems. ... unless I am totally mistaken, which is a possibility

The missing something is that this slate will ve only half the price, if that, of the Ambient/Denecke offerings. If it will be almost as good with maybe a few small caveats, that'd be great

I know, I was agreeing with you. Hence my first sentence under your post: "Yes, that's right"

Depending on how important the quality really is to you, the entire EW range may not be for you. The SKP2000 does sound pretty good, though. Many use it as wireless boom tx, so you can repurpose it. It's much more expensive than the 300 series, so you'd really have to compare it to other, higher end, systems. Range is much better than on the SKP100, but I woudn't want to put a number on it.

Yes, that's right. And many here have said that there are many reasons why cameras and audio recorders are never in perfect sync and this is just one problem of many. And that is true, but let me point out what Frank already said in post #124. this issue recurs in audio post, again and again, when camera-audio sync has long been fixed.

That's not true, there are others, such as Boom Recorder.

I did use both the systems. My SR300 is from the G3 range, though. Actually, I used two, one for boom op's and one for director/script and camera. As they are stereo, that means having the capability of sending out 4 different mixes. I only ever need three, though. Anyway, I use the ZAPD antenna combiner for both tx and have an omni antenna atop my cart - no antenna boostsr. If range ever becomes an issue, I'll put the antenna on my antenna mast and raise high it like the rx antennas, or I whip out an xlr which ends in an SKP2000 and I put that closer to the set. Worked really well, but in my quest to reduce my cart's weight and current draw I got rid of them and now I use an SKP2000 for boom op and an skp100 for the others, also I'm playing around with the Zaxcom ERX things. I can't really comment on range. As you know there are so many factors involved that it's really difficult to compare two different systems on two different days in two different locations... AKA it depends. All I can say is that the entire G3 range keeps surprising me with good range

I am so glad that more people have joined this thread who are technically much better versed in this matter than I am. Really, zero crossing, too? Does that affect sync as well? Didn't know that.

That only makes sense if you don't want to contact other Zaxcom owners. But I don't think it'd be a big problem if all Zaxcom owners found out about every "recall". Also it's very easy, technically, to set up mailing lists specific to each product. The beauty is, each buyer would add themselves to the list, so once the system is up and running you have no work with it. OTOH if it's between this and fixing the frame edge thing (see other thread about conforming), I say choose the latter

Of course, I meant foregoing the pre-record function, too, at least to use it as a solution for the frane-edge thing. It sounded like Sound Devices use a pre-record buffer for this purpose even if the pre-record function has been turned off by the user. But the pre-record buffer may not be the complicated part anyway.

+1

I really agree with this, too. I wasn't trying to imply anything by comparing number of posts. It meant as a somewhat humorous comment - nevermind, please.

Takev, I have to admit my mind is stretched to the uhm, frame's edge understanding this, but is the buffer even necessary? As was said before, any audio before the first frame of picture isn't really needed, so you might as well start recording at the next 00 second after recording has started. That may not help with your calculations, but may make it easier?

Well, if you read through the corresponding DUC thread, Frank (I think) mentions that Zaxcom may be working on something. Don't know his source. Funny, how on the DUC thread, they got through this topic in 23 posts. This is post #135

Seriously? This is the single most important place for all things location sound. ... I think. What do you think why so many manufacturers (in many cases represented by their top guys) participate here? They come here for our opinions. Just look at the active IDX thread. Most have their own forum, which will be another important source for them, but no group is as diverse and opinionated as this. But: we only have influence, if any, on the audio manufacturers, but none on the camera manufacturers and hardly any on the NLE guys

I know a few mixers who don't have their own gear. They provide production a list with what they need and the production company will rent it. In such a case, if the recorder breaks production will call the rental company which will provide a backup recorder, hopefully, if they have one. If you bring your own gear and production pays for it, you are the rental company. If something breaks: of course they will look at you for providing a backup and that's a pretty reasonable expectation, I think. So you better have a backup plan in place.