Patrick Farrell

Is the limiter in the transmitter engaged? Is the distortion present with it both engaged and disengaged?

The Shure UA860SWB covers 470-1100 MHz for an omni pattern, the Wisycom LFA covers 410-1300 MHz for directional. If you want to "skip" a particular range, you could either combine multiple antennas before your distro or use a filter inline.

The 600 MHz band is active in many markets. I'm speaking specifically for NYC where it is currently not in use. Also note in some places the hardware may be deployed yet still not active. From the same article you quoted: "Moreover, T-Mobile’s initial 5G service is somewhat unexpectedly using the same high-speed, short-distance millimeter wave technology as its key rivals. Rather than waiting until the end of 2019 for handsets that support 5G over long-distance 600MHz spectrum, T-Mobile is starting with the Samsung Galaxy S10 5G."

They launched their mmWave spectrum, not 600 MHz, which is still wide open and legal here in NYC.

I've never tried this but it looks like the Grace takes midi in so theoretically you could get a hardware LTC to MTC converter (the Rosendahl MIF4 comes to mind) and send your 788t TC into the converter, then on to the Grace and then pray the Auria app is able to detect that MTC signal.

This will do it https://www.sounddevices.com/product/wave-agent/

On your boom op's M2R, leave the balance centered and in the mixer menu select mono Ch 1.

If you want to call copper wire analog circuitry then sure, there necessarily has to be some. But copper wire doesn't care what voltage it is carrying (within our normal operating range of mic or line) and thus won't introduce distortion. I haven't seen schematics so I don't know for sure but I asked specifically and he said the mic signal goes straight into the converters. Also if feeding it line level, he said the mic/line switch shifts the input range of the converters.

From talking in person with Sam from Zoom.

While this is all true for traditionally designed recorders, it doesn't really apply to the F6. There are no preamps or analog circuitry before the converters which would saturate into nonlinearity. The mic signal directly feeds the converters.

Listen to Larry, as always. I also want to point out you'll need to make sure the SM transmitter has newer firmware which allows 25kHz tuning steps in order to dial into those exact freqs.

The TL47 (as well as the thin cabled TL45) sound really nice, pretty open and natural like DPA. Also have changeable caps to adjust freq response similar to DPA. I did not care for the TL48 very much.

Phantom power is cleverly designed to be safely transported along the audio signal path. (Although it wouldn't be the brightest idea to carry phantom power through that mini Lemo.) But if 12v power accidentally shorts to one of the other pins, bad things WILL happen.

Sounds useful to power something like a Mini Papi if you're running a camera mic on board. But if it's only 6 pins, that means audio and power are sharing a ground which makes me uneasy. If it's the mini Lemo size like currently used on the Alexa Mini, that makes me doubly uneasy having 12 volts that close to audio pins.

What? No. Why would you even say that? The whole Arri/Zax problem is pretty simple. Zaxcom timecode is within SMPTE specs and can feed an Arri camera fine and provide adequate sync. However, firmware dependent, the camera will display an error message. This is because the camera also has a feature which allows you to tune the camera's internal clock to the incoming TC stream, similar to how genlock works. (Remember sync boxes that had TC and genlock?) This requires a much more stable clock than that specified by SMPTE. Since there is jitter in Zaxcom's TC, it is not stable enough for the camera to tune it's clock to. This is what produces the error message, ableit Arri worded the alert incorrectly.

There's a similar system by Barix that is currently being used to feed music cues to hundreds of backgrounds on a certain production. Maybe not ideal for a typical IFB setup but there are uses.

The Crimsons are excellent for mic level. I've fed line level through them but depending on how hot it is, you might start to saturate the transformers. The Whirlwind Multisplit 1x2 handles line level no problem. It's passive and does four channels in 1RU. For an active split, I've used the Symetrix 581E with good results. Also four channels in 1RU.

I believe Gio Lima is still the sup on CCC. Here's a video we did with him discussing some of his techniques.

I think he wants to jam, not continuously feed. The TC input depends on what module is installed on the camera. The most common you'll encounter is the "base expander" which uses the miniature 4pin Lemo for timecode.

They have a list of dealers on their site. https://www.alfacase.com/dealer

Try these guys: https://www.alfacase.com/boom-tube

https://www.sounddevices.com/tech-notes/mp-1-electrical-modifications See the second note about midway down.

You could set your TC out to "Card" so that it only outputs when rolling or playing back. Then use the presence of the TC signal to open or close a reed switch which is inline with your audio output. Of course that becomes a pain because you'd have to switch back to "Generator" any time you need to jam TC to another device.

What recorder are you using? It's possible to build a cable with a reed switch and use the gpio to pass audio when rolling.

No, it's just a button in the menu to mute the outputs.