Derek H

If you can, swap out the Zaxcom gear for the same stuff in a lower block. 3+ blocks of separation between a Zaxcom transmitter and any other RF receiver seems to be a good rule of thumb. See if you can get it in block 20-23. The other suggestions here are also good but getting the zax frequency farther away from your other RF will do the most good in my opinion.

Nice job NewEndian! Now watch as you get swamped accommodating all our new feature requests and bug fixes! My thoughts: - I like it all on one page. - Would like an affirm answer on if the dweedle tones change between blocks or if the block selection is only to show you the correct freq for the hex key. For example, if I know I need to change a particular transmitter to E8 do I need to change the block selection for it to take the dweedle tone correctly? - I like the presets. Very useful in a reality show situation where you have many talent, or more talent than transmitters and you are trying to setup assigned channels to individuals. I can see using it in the case that you mic up "Sally" with "Jane's" transmitter pack on accident and then need to quickly turn that transmitter back into "Sally's" mic per se.. This is also a great way to remember gain settings for different talent with different types of voices. Don't take it away! - On my Android (EVO running 2.3.something) the dweedle volume seems to default to my last media volume setting, I would prefer the App to set the volume back to the last media setting I set within LectroRM. As is now, it seems to always default to mute so I need to first open the app, then pull up the volume slider, then perform whatever change I need to make. Would be great to remove a step. Thanks, great work! You've got at least two users here in Chicago now. -Derek

Make him a tin foil helmet, he should be happy to wear it if he's so concerned. Has the side benefit of keeping the aliens and the government out as well. Sounds like an ass.. Some of those multi watt video transmitters however I actually would be worried about. The puny RFs we use... Not so much. Tell him his nads are getting a stronger dose from the iPhone in his pocket than your gear. ..I did have talent tell me this week that she didn't want a mic anymore because she thought the pack would give her cancer. She was just looking for an excuse not to wear a mic though. Good luck!

Looks like a nice one. Wonder if it will have actual hardware connections to input line level sources to take advantage of all of it's recording tracks.. My guess is not a chance. Looks like just the usual two combo jacks.

Thanks for the suggestion Robert. Yes, I already tried all those things.

Agreed, also you for sure can disable the limiter in the audio menu. Sony gear seems to get ragged on a lot about all their complication but from a sound mixers perspective I've found them to be fairly thorough in their audio controls. The status button is your friend. The user manuals are a little goofy but also pretty thorough if you take the time to read it. Often the camera op, owner or not, has no idea about the audio settings of their camera.

There was a very rich thread on this subject a few months back if you can find it with a search. I remember it was different from this one in that it was more about 2 channel mixes to camera in ENG situations and how to divvy up lavs and booms amongst two tracks. Worth a read if you can locate it

I agree that the tone blast would be a simple solution except you'll soon have everyone on Comteks complaining about the noise. Unless your tone is not routed to the ifb feed somehow. Or you're using Zaxcom ifb with the 1k notch feature.

It's a tough nut to crack.. Even with the STA150 it's a bit of a cable mess. To fit into a petrol side pouch I decided to mount the unit completely sideways so that the antenna connector pokes out the side of the pouch and all the audio and power connections come out the top of the pouch. I decided on this mainly in consideration of strain relief and to maintain a very low profile for those seriously run and gun jobs. See the pics: Of course this makes the display totally inaccessible but I've found that for most jobs the TRX settings do not need adjustment after the initial setup. And with the QRX receiver with IFB frequency adjustments can be made from the camera mounted receiver without having to dig the transmitter out of the bag. I also do not mind not being able to see the transmitter's meters because there is no limiter to worry about hitting too often or just enough like with Lectrosonics gear. I like just looking at the mixer's meter and knowing that that is exactly what I'm sending to camera. Not to say you can't set up the same situation with Lectros but you need to be more aware of the limiting situation.

If only Sennheiser would make a more boom pole oriented filter module I think these would get much more use on set. ..too bad Sennheiser doesn't seem to be listening too closely to our smaller market. Even better would be a variation model with an attenuated low frequency response like Schoeps has available with their CCM series. Boy, can't wait for that product to never happen just like the 8030 figure 8...

You'll need an erx for that. Would be pretty cool if there was a Zaxcom smartphone app... (hint!)

Hey peter, Curious about the rain cover you have on the rx900.. Is it a lectrosonics part or did you find it elsewhere?

I had the same problem trying to update my QRX's IFB board via the IFB transmit function of the TRX900. In my case the QRX had to go back to zaxcom to have the update done (update to version 139 I believe). They forgot to make sure that it can update from the TRX so we'll see if the same problem crops up when the next update comes out. I tried everything I could think of to get it working.. It would still always miss some of the data during the program send. -dh

I'd suggest looking at their catalog. They make rack units as well.

There is also a new straddle bag that carries two receivers back to back so they can both hang off one side, or straight back. I second BEC group, great company.

..Yet

Let me guess, you're working on hoarders?

Thanks Jay, Looking into it. I'd like to be licensed if possible.. seems like you guys have done a lot of the heavy lifting to pave the way for everyone. Thank you! -dh

I think the 302 is almost perfect as is. If they had to make it any bigger I would want it to have 4 channels (kind of like what SQN did with their 4 channel). My favorite ideas: - 2 track recorder, same as 552, SVEN menu driven - AES Outputs - 1/4" headphone plug!! - More gain on each channel (as is 552 has over 12dB more gain than the current 302) - Direct outs - Hirose 10-pin not a bad idea but I wouldn't care either way - More versatile aux output (to feed 5d or comtek)

Some basic questions about obtaining licenses: Can one license cover all your transmitters, types, and frequency ranges? For example, a single Lectro SMa can tune to 256 different frequencies.. let's say you have 8, do you need a license for each one? Some of those 256 freqs will likely be on top of other licensed transmitters in the area (TV station). Also this changes from location to location. And rarely are any of us in the same location for very long.. So how, in any practical kind of way, can we be licensed operators of our own gear? Seems kind of hopeless, unfortunately.

Another alternative would be to just use the mobile version on your phone's standard web browser. It actually looks great and is very easy to use. I just added a bookmark icon for the new content page right next to the tapatalk icon on my phone, so far so good.

I like it! This is my standard view that I have bookmarked and is how I find all the new posts. Thanks for continuing to improve things around here Jeff!

Glenn, Is there any reason why anyone would not opt for the 40 meg block? Does the front-end filtering suffer in this mode? Also, can the transmitters be modified to operate across the same range? Thanks, DH P.S. I totally agree Chris in thinking that a "block-agile" system would be a big deal to most mixers. Though probably a generation or two away I'm guessing..

The bag in Scott's photo is a petrol bag made for the 442/552 or x5. It's very compact, though wider on the sides actually. I believe he has a 552 and two SRa receivers in there. Not much room for much else, hops have to go in the side pouches, an np1 can be fit in the belly pouch, but that's about as compact as a 5 channel rig can get of you ask me. Scott correct me if I'm wrong on any of that.

#1 make sure you're paid well I would say skip the slate. Too awkward when you're so on the move. If they like plural eyes go with that. I would vouch for slapping a g2 on each camera and just sending a scratch track. That will ensure a good plural eyes synch up. Would also allow for your voice to slate which audio file you are rolling to at the moment. Though with no display on the 552 I'm sure the file count will get confusing. I'd keep a note pad and take a few notes when you can, for each roll ideally. That may help a ton later. As far as mounting a lav I would recommend being prepared to mount it totally exposed as he may have so much gear on that hiding it under clothing won't work (this is the only option if he has a vest on). This means make sure you have vamp clips or tie clips and wind protection of some sort. I've used the cos--11, mesh wind cap, and micro-cat fur in the past and it's nearly wind-proof. I'd throw the transmitter in an empty pocket of some sort either on the outside of the vest or cargo pocket somewhere. You could also consider an ankle strap of some sort if the boots aren't too high up. Either way may get you better range than middle of the back. May also consider bagging the transmitter up in a dry condom if there will be river crossings or mud. As far as recording gunshots.. Just use you're best sense. Give the mic enough air away from the muzzle obviously and just work the trim knob when you have to. If you know ahead of time you'll be recording artillery or something crazy loud up close I would consider tossing in an sm58 or other"beater" dynamic mic. Protect your ears!! Can the 552 still provide phantom to a line input or did they nix that feature? If not, you could try that.. Though your problem would more than likely be at the microphone capsule if things were that loud. anyway, there's a ramble of thoughts for you. Good luck! And be safe!