Derek H

My main interest in this thread lies in how well the QRX performs in dual mode, receiving two separate transmitters that are worn by real people moving around and doing the usual. I often see red LED flashes on my QRX indicating a receive error in one of the two receivers. In Single mode this is not a problem but I'm concerned that in dual mode this would always mean a drop out. I currently use the QRX for a camera hop and it has been flawless (after a few rounds through Zaxcom service , but that's all in single mode. I want to know how it fares in dual mode. As far as I'm concerned there are several UI tweaks that should be done at the software level to allow for a single QRX to act more like an IFB100 and send remote commands to an indefinite number of transmitters instead of just two. The way they have it set up right now it is largely dedicated to one or two transmitters at a time and dealing with 3,4,5+ transmitters is very cumbersome. This is a situation where I feel Zaxcom should follow Lectrosonics excellent example and provide some sort of group tuning mode and better access to remote control features if they want to do it right.. Currently there is no group tuning.

Nice work Simon, Quick question.. Why bother connecting the cold lead to the switch?

I hope Zaxcom someday updates the TRX line with a new transmitter designed just to be a bag to camera link.. Solve all these design problems the right way: Proper shielding, built in filter antenna, diversity IFB antennas, allow simultaneous IFB signal and timecode to be output, variable RF output power, built-in line input and AES, better form-factor for bag use: LED indicators on top, connections on bottom. No side connections. Especially now that they have the improved LT series for on-talent transmitters I think it would be better to have a dedicated unit in the bag. Anyway, don't mean to be a drag. Hope the bracket helps, but I'm not keen to drill into my STA.. the idea of aluminum fragments rattling around inside of it afterwards seems too risky.

What is a DMX cable?

Tom, thank you for posting this with the photos, very helpful. I emailed Trew audio about this bag when it was first announced. I'm often in the situation where the PEGZ1 (601) is often just a bit too large. This looks like the perfect bag for my 552 and 4 radios. The pegz1 is always too deep so I'm glad there is a new option.

I've experienced the same thing with my ifb return channel from qrx to sta150. Weird over-modulated type audio. I'd like to know if the input gain and output gain menu settings effect the internal qrx ifb mix or if that is just a trim for what is passing through the physical connectors on the qrx. Also... While I'm at it, why isn't the ifb output connector on the sta a TRS jack and allow for both timecode and ifb audio output? I'd like to have both signals available but instead you have to pick one or the other. The ERX can do it why not the STA?

You will have a real treat trying to stuff 16ga into a Hirose... The solder cups are really designed for something closer to 26ga.

Is this coming to Android as well?

How do you know if the lav has fallen off mid-take or if there is any clothing noise. Bad advice...

Looks like a Neutrik part to me.

My guess is that Glenn is referring to the special frequency hopping feature that was announced a few months ago.. I'm forgetting what their moniker for it was... Whiteout? Anyway from what I remember it works in conjunction with the QRX, using one of the internal UHF receivers to be constantly scanning for clear frequencies and moving the transmitted audio to a better freq whenever necessary, seamlessly. A great feature but at the penalty of losing the ability to receive two transmitters with your QRX. Glenn, correct me if I have it wrong. You could argue that Zaxcom gear is somewhat more drop out proof in that you won't hear any distortion of the audio signal until a total loss of reception occurs for a certain period of time. This seems to be the case with my camera hop system, I almost never hear a report of loss of audio, even in tough RF locations. With FM modulated radios you will hear artifacts leading up to the full drop out. Sent from my iPad using Tapatalk HD

I'd look at BEC Groups product list and see if you could make something work. Their hotshot adapter with a little Velcro might work.

Be warned, I have a Cabelas fly rod tube case that I've been using for a few years (light use) and recently the bottom cap popped out and the pole fell. Not designed to hold the weight of the pole obviously. Something to watch out for.

I have mixed feelings about the file name situation. On one hand I do understand wanting the file name to match the scene/take info, it makes file management somewhat more straightforward. And with sound devices created files being so prevalent in post i can understand why some editors and AEs would be thrown off by a change in file naming scheme. On the other hand I believe that eliminating the chance of delivering duplicate filenames with different audio content is important. Removing human error where possible is a good practice as far as I'm concerned. I also feel that maybe the better solution is to promote more proficient use of audio metadata in post. For example, I'm not aware of any camera system that allows you to name the video clips in-camera and post doesn't seem to mind and the data is managed without issue, why should audio be different? Perhaps in the case of the Nomad Zaxcom would consider an optional function whereby the files on the fat 32 secondary flash card are automatically named by the scene take meta data so that the delivery media is named as expected while maintaining the unique named files on the primary MARF flash card. That would seem like a good compromise to me.

How do you guys feel about deoxit? (and its variations)

Location sound has some custom cables made for just this purpose. They're on their website somewhere.

http://db.tt/Sn9s2ZRz Hey folks the link here is to a pdf file of an assembly instruction sheet Comtek emailed to me once when i was asking about this same issue myself. You'll see that it shows two inductors, one each, in-line with both the hot lead and the shield as well as a small disk capacitor across the two. This is all installed on the mixer side of the cable. Is this the RF protected cable that everyone is referring to? Thanks, Derek

I know it's extra work for a fee app but there are many of us using Android devices who would love to use this app as well. Currently there is no timecode app for Android. Hope Denecke considers it! Thanks for providing such a valuable tool for free!

VLC does not seem to be available for Android. It does look like it's in development though. There does seem to be quite a few VLC related apps on the market that interface with VLC in one way or another. I'm looking for one that allows me to upload an audio stream from the mic input on the phone. Have you seen anything like that? Thanks, dh

On a side note, I wish Zaxcom used the Hirose for all their wireless products as well. The locking DC plug is alright but I'd rather just have one type all around.

This is actually the Hirose 4-pin I would buy: http://search.digikey.com/scripts/DkSearch/dksus.dll?vendor=0&keywords=hr10-7p-4p Has a much better strain relief system and assembles faster. This is the one Sound Devices uses for their cables. Though the one Jason and Jack linked to is fine too as long as you put it together well and get a good clamp down. The above is more expensive but only by a couple bucks.

The cable you had made to use with the TA3 tape out may have a summing circuit built in which would make it incompatible with the other TA3 outputs. (http://www.sounddevices.com/notes/mixers/302/302-tech-note-adding-a-mono-mic-level-output/) Using this cable on a normal balanced TA3 Line out would result in the two sides canceling each other out. I would also have a look at the 552 manual, you may be interested in the talk-back capabilities of the 552. Essentially it allows you to send the boom op a different mix out the 3.5mm headphone connector. It also allows you to talk with them via the slate mic. This might work perfectly for what you're trying to do. Good luck!

Consider also that Zaxcom blocks are slightly wider than their Lectro equivalents. There was a thread recently in which Glenn joined the conversation and implied that they may look into making the blocks even wider than they already are. If that ever gets implemented then a Zaxcom block will be almost twice as wide as a Lectro block. Big if of course. If i were buying a new Zaxcom receiver, i would call then up and ask how serious they are about this as it may influence what choice you make.

So perhaps the OP would be better off setting his 744 to 29.97? Also, could a drop frame / non drop mismatch cause the 744 to display the warning as well?

I just did a sync sound shoot with the epic last week. Fan noise was okay but really ramped up as soon as they cut. A handful of times it also spun up very loud in the middle of a take (takes longer than 10 minutes or so...). The director would simply call cut at this point. At least we were all on the same page. The more troubling problem was the audio sent to the red seemed to have some kind of terrible sounding auto gain applied to it. The DIT who was ingesting the red data let me know this discretely (nice guy). It sounded pretty bad, like someone was riding the fader super sloppy on the peaks. (hopefully not me Sound was sent to the red from my 552 at mic level using the same xlr adapter that someone posted earlier. It slides on to the rails and converts the xlrs to two 3.5mm. Input was set to balanced in the menu. Couldn't find any settings on the red regarding limiters or auto level controls. Glad I advocated the dual system recording, production originally wanted to just send sound to the camera.