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  1. I'm trying to control the gain of a trx900LT from my Nomad. Not seeing anything in the manual that I might be doing wrong... Nomad and TRX are set to 2404, group 1. Nomad IFB mode is TX. The TRX is displaying "Rx" flag, also, "Jam" and "jammed", but the timecode is not what I see on Nomad (which is set to display and output generated TC). Any ideas what I could check for?
  2. Missed the Zaxcom Nomad Seminar with Jack Norflus back in August? A video of the 3-hour event is now available to view online, complete with a thorough look at the Nomad's hardware, software features, integration into the Zaxcom line of products, and Q&A with the audience. After the Q&A in Part 2, Glenn Sanders unveils the Zaxcom Maxx: an ultra-compact digital mixer with built-in recorder and transmitter. Enjoy! Part 1 Part 2 -Cory
  3. Hello People, I'm looking for suggestions from those familiar with the finer details of Nomad capabilities. I just upgraded to the 12 and believe I have found an unfortunate recording limitation, bummer for me, and you other 12 track users. I am using and 8 channel board in front of the Nomad sending 8 AES channels into Nomad. The way I see it on the input config screen, my only option for 8 channels of AES on the nomad is Input Type 7. With this option selected, it limits my 9-12 card tracks to R1 and R2 only - R3 and R4 are RED (danger danger) because of the input type 7. The option for outputs 1-4 isn't enabled.....yet? Does anyone know of any possible solutions still using the 8 AES inputs? Am I stuck with 6 mic pre's and 6 line level inputs to record 12 separate tracks? Thanks, Jobo
  4. Hello Boys and Girls! As you may or may not have heard there have been a few changes to the Nomad line from Zaxcom. The Nomad 4 will now become the Nomad Lite The 6 and 8 will be upgradable to the 10 or 12. Nomad 4 to Nomad Lite - $95* Nomad 4 to Nomad 10 - $950 + $300 upgrade fee Nomad 4 to Nomad 12 - $2,095 + $300 upgrade fee (Must come to Zaxcom for the hardware upgrade, tracks may be unlocked via a code) Nomad 6 to Nomad 10 - $150* Nomad 6 to Nomad 12 - $1295 + $300 upgrade fee (Must come to Zaxcom for the upgrade, tracks may be unlocked via a code) Nomad 8 to Nomad 12 - $195* The above pricing is good until December 31, 2012. Upgrades with the * are done factory direct only and are not discountable. Beginning January 1st the $300 upgrade fee will be applicable to ALL upgrades. Nomad Lite and Nomad 10 unlock codes / software will be ready on or before November 1st!!! Feel free to contact me if you have any questions! Thanks! Christina Z Wittich Sales Manager Extraordinaire Gotham Sound and Communications
  5. To celebrate Nomad's 1 Year Anniversary and to raise awareness of how cool ZaxNet is, we're holding an October sales promotion. Any customer who buys a Nomad 10 or 12 in October 2012 gets a free Zaxcom ERX2TCD! ( $ 599.00 Value! ) Zaxcom ERX2TCD Series Encrypted Digital IFB Receiver - Outputs Timecode for Red Camera or Timecode And don't forget the Zaxcom Nomad Updated Product Line: The Nomad Lite replaces the Nomad 4. It's a 10 track unit with a more basic mixing capability. It's perfect for the customer who really just wants to lay down tracks on the go and can benefit from our extensive DSP based tools. 10 tracks with no Zaxnet, no AES out, and no USB support. Price: $3,995 The Nomad 10 replaces the Nomad 6. It's now 10 tracks and includes ZaxNet and AES in/out but no USB. Price: $4,850 The Nomad 12: 12 Tracks with Zaxnet, AES in/out and USB support. Price: $5,995
  6. I just recently purchased a nomad and got it set up for the direct to camera 4 lav shoot I was on the other day and it worked fine. I was just looking to get some experienced tips or tricks or things you've found to save me some time and bring me up to speed with using the Nomad. Anything and everything helps and I thank you all in advance.
  7. Hey guys, I switched from using a SD302 w/ a Zoom H4N to a Zaxcom Nomad. It's been quite a jump, and I love all the things it can do. On a philosophical level, I think I'm still a bit confused about multi-track recording. Hopefully you guys can help and offer some insight. When using the 302, when I turned the knob, it controlled how much or little volume the recorder would record. I would monitor from my source, since that's what I was ultimately recording. If I needed more bump, I could turn a gain knob and open it up. I assume that is post-fader recording/monitoring. By default set up, the Nomad uses post fade, i think. This makes it so that when I'm mixing, moving the fader knobs doesn't actually really effect anything, so i'm generally just mixing using my gain knob. I have it set up to record isolated tracks for the first 5 channels, but channel 6 is a mono mix of what ever combination i'm using. I guess I'm just confused with how monitoring on my Nomad is different from recording to my Zoom. I really hope i'm making sense, and I know it seems simple, but I'm having some problems grasping the whole pre-post fade thing. Thank you, -w
  8. I have not had any reported issues with syncing since using my Nomad the past few months. For the first time the other day, my friend who shot something with his Canon 5D told me he had a drifting issue towards the end/middle of one of the takes. I'm not sure if this was because it was just a mirror file, or from sending the files over the web.Working with those variables now to see if that's the case. However... I went in and saw that my TC was set to 30. He was shooting at 23.95. Does that make a difference when recording with/without using a smart slate? Thank you, -w
  9. Hey guys, Been having an awesome experience with my Nomad so far...but the time has come for me to do a 3-camera ENG shoot. I will be mixing into 3 Cameras (each with 2 XLR inputs) Follow my logic for setting this up and please tell me if you would do anything different or have any insight/experience/advice. I have 4 direct outputs. That's 2 breakaway cables, one to Camera A, and one to Camera B. I can monitor the return on 1/2, and 3/4 with the 5-pin adapter cables I have. For camera 3, I would get the cable that goes 5-pin to XLR "Y" cable. Then use a typical breakaway cable to go to Camera C. I don't see anything on the nomad that would allow me to monitor the return on 5/6. Would it make more sense to use the tape-out for the 3rd camera so that I could monitor it that way? Is there anything special I need to do in the Nomad's settings for like output settings? I will be running a Boom and 2 lavs, possibly a 3rd if needed. I would want each camera to have the Boom track isolated, so I would set: Input 1 (L), And then Input 2, 3, 4 ®...which would make each camera receive the boom on track 1, and lavs mixed onto track 2. Does that make sense?
  10. Hi all, I have a shoot coming up next week on 5DmkII. In the past I have used a Lockit box, UM100, and Lockit Buddy to get TC on 1 channel and a scratch feed on the other. I'm thinking for this gig that I may use my QRX100 w/IFB in the bag and use my ERX1TCD to feed both TC and Audio to the 5D. Just wandering if anyone out there has or is doing this and whether there are any issues or 'gotchas' I should be aware of, particularly with the ERX1TCD. I'm not 100% sure I'll have a chance to do a workflow test beforehand, unfortunately... Mixer/recorder is 788T. Talent wireless on UCR411's, QRX100 in the bag only for IFB & TC scratch feed purposes. Any replies greatly appreciated! Cheers, Jase
  11. Stumbled upon this with some creative Googling. I like how 24bit seemed futuristic and the pre-record buffer was an amazing killer feature. Also what the hell is "the new Sony dubbing format, specifically for use with the new 20-bit Sony digital dubber?" http://www.amps.net/...e23/23_deva.htm I copied the text below: Twickenham Studios, Sunday 21st September saw an audience of over 50 for a presentation by Glen Sanders of Zaxcom, of his company's portable 4-channel digital audio hard disk recorder. Because this was considered an important event, an invitation was extended to the IBS and BKSTS membership to attend, and it was good to see some IBS members who contributed important points to the discussions. The meeting kicked off with Roger Clemo of UK representatives Harris introducing the team who will be supporting the Deva. He also added a few words about their company - that it is part of the Studio Products Division of the Harris Corporation whose group turnover last year was $3.8 billion. They are based in Cambridge. Glen Sanders of Zaxcom then took over and made a thorough and illuminating demonstration of the Deva's features, capabilities - now, and in the near and far futures. He kicked off by plugging his microphone into the Deva's mic amp and announcing that he was going to do the entire presentation through this unit so that if it made any unpleasant noise over the next two hours, we'd all hear it. He turned the mic gain up till feedback so that we could all 'hear' the low noise. Zaxcom was formed in 1986 and has specialised in digital audio and video products. Products such as the DMX1000 mixer are in use worldwide including the UK. The company is just 14 people and it was suggested that because of this efficiency they were able to keep a very competitive price structure on their products. Many of the audience were familiar with the concept of the machine from article in the newsletter, so it was the additional points made that were most interesting. Firstly the removable hard disk is airtight, shock and dust resistant. He estimated a current cost of the disk to be around $500 although this would probably come down to $400. Their experience had shown that a big movie would require around 10 disks but following user feedback had decided to offer alternative possibilities. In a static situation it will be possible to record onto the internal HD and an external Jaz drive at the same time. In mobile situations, the recording world be made on the HD and copied to the Jaz. This should increase the convenience of the system - writing to the Jaz in their own MARF format (specifically tailored Mobile Audio Recording Format), WAV format and the new Sony dubbing format, specifically for use with the new 20-bit Sony digital dubber. Many were impressed by the demo of the Deva's 10 second prerecord - it's always storing audio in a buffer when turned on. Glen pressed Record, and then Stop, and immediately played back the ten seconds of his talk prior to having pressed Record! He went on to demonstrate the resistance to shock and vibration. The HD is rated at 125g in play and 200g when stationary and so is not likely to be damaged itself but the writing or replay may be affected by vibration - it uses a 20 seconds buffer memory to store audio in until the vibration stops, and then writes it to disk. To show this he violently shook the machine in replay, and there were no detectable errors audible. He also played back some material he had recorded in Trafalgar Square the previous day with the unit just slung over his shoulder. Not demonstrated but the unit has the ability to print out a take list if attached to a printer. The ease with which you can access takes was impressive. It is also impossible to record over material without executing a specific key sequence. So if you are in the middle of playing back a take and there is the need to record immediately, just hitting the Record button enters that mode, clear of any existing material. It is possible to set up up to 100 cue points for playback. Not all facilities are currently implemented - insert record and compression/limiting was due within the next few weeks. Battery life was touched on and it was mentioned that Nickel Hydride batteries had been found to extend life by half an hour, up to nearly 3 hours. The unit still keeps timecode values with the power off. Provision for a 24-bit future was discussed. The unit runs at 20-bit now (disk 24-bit ready) but the converters, mic amps are designed to to be upgradable at a later date should 24-bit or even 96kHz sampling become a reality. Also larger HD drives are possible in the future upping record time to 4 hours. The PCMCIA socket adds further possibilities beyond the Jaz drive connection, such as working directly with workstations and modems. Fairlight have already incorporated the MARF format in the MFX system and Zaxcom are in talks with others. Questions came thick and fast: How robust was the disk? Glen took the HD out of the Deva, explained that they had added there own protection on top of the basic, banged it forceably on the table and put it back in the Deva. He said that he didn't know what more could be done. How long to change the disk? About 10 secs Able to record new EBU standardised broadcast WAV format? Not yet but will investigate what it is and if wanted will implement it. There are no limits on number of formats that can be added. How much? About $10.5k in the US and approx 7.5k in the UK, in the form demonstrated. Can the disk be turned off to save power? No not as yet - but this may be added in future. What about cost of disks versus DAT tape? Disks will cost more - they're doing Jaz drive interface first but also has a SCSI interface and so could plug in MO, CDR, DAT data tape etc. Will be able to record on other media, enabling you you to get the media cost down to the budget, Is it radio mic proof? Yes, it's EU approved. Questions and closer examination continued until the meeting closed at 1.15, with the demo machines shown departing with some of the audience who had managed to borrow them for closer examination. Thanks to Zaxcom and Twickenham Studios for a most interesting meeting.
  12. Me again. Random thing I'm curious if anyone has experimented with. The Mirror files obviously make a copy of what is recorded first to the primary card. If I go back, and re-name a take, or add a note that the last take was "room tone", but the Nomad has already mirrored the segment (since it does it automatically). I'm assuming that means that the mirror files would then lack the same meta-data as the primary. The work around to this would be to leave mirrored off, until you know there is a break, or a scene change, and that all your meta data is up to date. Just curious
  13. Just posting to say I had a good time at the Zaxcom Nomad/Digital wireless presentation at Trew Audio Toronto tonight. Glen Sanders did a great presentation (including a quick shout out to JwSound Group ) and I learned a lot about Zaxcom's products and digital wireless, Thanks Glen/Zaxcom! Also thanks to Trew Audio for hosting the event and for the great BBQ! Cheers!
  14. Hey guys, I was talking to this production coordinator I'm doing 2nd unit with and he mentioned that the production wanted me to switch to zaxcom wireless. There reasoning is so they can run off and still have good tracks. I've used the whole zax system before (fusion, IFB, & wireless) and it worked for the most part. I wanted to know if I used my 744 instead of a zaxcom recorder would the zaxcom IFB still send the commands to record and stop recording to the zaxcom transceivers? Has anyone tried this? Keenan
  15. So up until now I've not really had a reason to play with the recording feature of my Zaxcom TRX900AA as I've used the 552 internal recorder instead. I'm heading to a friends wedding tomorrow and he asked if I would mic up the Celebrant, so I thought this would be a good opportunity to try out the recording feature of my TRX. I decided to do a couple of test runs before the wedding so whilst on location this afternoon I did some recordings to the TRX from the output of my 552, and then when I got home I took off the STA150, added my DPA4063 and mic'd myself up for 20 mins. I used Zaxconvert to transfer both files to 24/48k WAV files, but both files were unusable. There is a lot of interruptions and what I can only describe as "hits", though there shouldn't be any RF interference in both instances. I'll be taking the TRX in to my local dealer as soon as I can, but in the meantime, was just wandering if anyone out there may have experienced this before and knows of a fix, or if perhaps (most likely) I am doing something wrong. The TRX900 is updated with the latest firmware. Thanks everyone! Jason
  16. I have edited this entry based on feedback from Glenn and Howie at Zaxcom. Specifically I have removed quotes from a memo considered confidential between Zaxcom and their dealers, as well as some corrections to some of Cory's feature depictions. My changes are indicated by [brackets]. To The Jwsound Community: Glenn Sanders hand delivered our first shipping Nomad to Gotham earlier today, but it was somewhat of a mixed blessing. We knew that not all of the recorder's advertised features were completed, but our request to Glenn that Zaxcom openly show on their website the specific features that were missing (and their anticipated implementation dates) were met with reluctance. [instead, we were told that it is 100% the dealer's responsibility to inform their customers of the machine's status and that Zaxcom will not be posting this information on their website.] So, below is our first attempt at fulfilling our responsibility. Our senior tech Cory Allen spent a few hours with the shipping Nomad, and discusses its brilliance, its flaws, [and] its missing features. Your comments and questions are always welcomed. [Please keep in mind that firmware updates will be be forthcoming to add these features.] Sincerely, Peter Schneider Gotham Sound https://docs.google....ir3Bj8SwHJ-9TyI \Initial Impressions of Nomad by Cory Allen Today Gotham Sound received a visit from Zaxcom-honcho Glenn Sanders, accompanied by our first production Nomad available for purchase. Since it's unveiling in April at NAB, the Nomad has been advertised with a full set of features that hope to make it the choice field recorder/mixer for a variety of productions: 6 Analog Mic/Line Balanced Inputs, 4 Analog Line-Level Returns/Inputs, and 8 AES Inputs for a total of 16 Inputs Busses, all able to be custom routed to any Disk, Output, and Headphone bus. Up to 12-track recording on two mirrored CompactFlash cards, plus recording on an external USB flash drive/hard drive. Additionally, the external USB port can be used to record MP3 transcription, or send files over Wi-Fi. Internal ZaxNet IFB Transmitter for IFB audio broadcast, timecode broadcast, and Zaxcom transmitter transport control broadcast. Auto Mix functionality. Dual A/D converters per mic input providing a claimed 135 dB dynamic range, dubbed Never Clip. This article is a first-look at the Nomad as it is now, and will be followed by a full "Put It Though Its Paces" review. I have toyed around with a pre-production demo of the Nomad, and with the arrival of the first production unit, I am happy to report that it is real. But does it deliver what it promised? It indeed has all of the inputs and outputs as promised in the pictures, and they all work. There certainly is something to be said for fitting all of those chassis-mount XLR connectors onto such a small box, sparing the user from the hassle of adapter cables. It is remarkably light and compact for such a capable device. Unfortunately, the small form factor forces the screen down to a size unfit for the amount of information it needs to display. A small line of text cycles between the remaining recording time and mirror status, and you cannot monitor the recording levels while seeing what position your gain trim is set to. You might look at the Nomad and think that it's similar to other Zaxcom recorders, or even other field recorders in general. However, the user interface is a far leap from any other device used in production audio. There is no touchscreen and there are also no [per-channel] dedicated controls for input gain, panning, or even pre-fade listening. Instead, all of these have been placed inside a layer of software control or a menu accessible by a minimum of two button presses. Some other controls are hidden in nested sub-menus. The allows for enormous flexibility and customization at the expense of speed and accessibility. [removed] As of today, there are still many advertised features missing from the Nomad. Some are big-ticket selling points such as the ZaxNet IFB audio broadcast, timecode broadcast, and transport control broadcast functionality, as well as Auto Mix and Airmail (files sent over Wi-Fi). Some aren't crucial to operation, such as the User Preset Memory Store and Recall functionality. Other absent features like metadata entry and the external USB drive functionality [are more crucial]. But for all of its quirks, it is still impressive. The custom input-to-track, -output, -headphone, -mono out, -tape out, and -secondary headphone busses routing grids make for seemingly infinite custom routing options (even if pre- and post-fade are represented with easily confusable P and X ). Once the absent features are ushered in with new firmware updates (or possibly factory installations), it looks like this really will be a killer recorder/mixer, just one that will take some getting used to.
  17. This past month we were extremely pleased to have Glenn Sanders, President of Zaxcom, introduce the new Nomad to us at my latest workshop. Enjoy....Thanks, Rich
  18. Hi everyone. I have a gig that I am not going to be able to finish because of double booking. I have a 4 day Reality Shoot in Packwood Washington available. They shot the whole month of July with me, and need to go back for some pickups. You will have an A2/2nd Mixer who knows the ropes and can help out with anything you need. Great Guy! They will be blowing up a 300 foot mountain with dynamite. Should be fun! Please contact me @ 818-359-1348 if you are interested. Great people - and copy, credit, meals.....just kidding! $550 a day. We can talk equipment. MUST know Zaxcom. Lectro will NOT work on this job. I can explain when you call. ~Thomas Popp Popp Sound LLC 818-359-1348
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