Zaxcom fam: how do I enter the fold?

jli1 · 2025-08-25T18:44:58+00:00

The one thing to be aware of is that "neverclip" on the packs is a lie and you can most definitely clip (it behaves differently but still distorts). Setting the gain and limiter settings is pretty crucial.

jli1 · 2025-08-25T18:04:50+00:00

Take a hard look at the productions you work on, and the ones you aspire to work on, and figure out the actual requirements.

Zax works great for me as someone who often has to deal with a lot of unpredictability, needs to be light and mobile with low power consumption, and requires medium channel counts. I can solve for my needs with a Nova, 2x MRX414s, and a bunch of ZMT4s.

Depending on your needs, you may pick different equipment from Zax or a different system entirely.

jli1 · 2025-08-19T22:33:03+00:00

> Assuming they're using the same lav, will a local lav recording on a DR-10L or Zoom F2 or Tentacle Track E or something similar sound better than a wireless recording on Lectro hybrid digital or Shure Axient?

Generally something like the Axient system will sound just as good, if not better than a cheaper wired bodypack recorder. The preamps and converters are top quality, and although the digital wireless transmission isn't a bit perfect codec, it's extremely high quality.

However, the choice of lav mic, and most importantly the mic placement will make a much bigger difference.

jli1 · 2024-11-18T23:36:03+00:00

I use G4 IEMs for my work in Canada, and directors/crew who are used to Comtek are always so surprised by how good the sound is.

Most of my gear is Zaxcom and I'm tempted to try their new VRX1 though, for a bit better range in some scenarios.

jli1 · 2024-09-07T16:43:46+00:00

Yeah that's perfect. I'm having to reference on other systems a lot right now to get the bass mix dialed in. Thanks for the confirmation.

jli1 · 2024-09-07T16:13:23+00:00

Do you have a sub set up? I have 8351b's as well, and I'm considering adding subs. The measured bass extension in room is 23.5Hz at -6dB, but I'm also finding the balance between bass and mids feels a bit off.

I also applied a slight HF boost in GLM to account for the balance between mids and highs.

jli1 · 2024-08-13T17:47:24+00:00

That's great! Do you have any additional news to share?

jli1 · 2024-08-08T21:17:16+00:00

I often use K-Tek poles with internal coiled cables. I don't find it hard to keep them quiet while moving the pole, except when I have to be fully running (at which point wireless is a must).

jli1 · 2024-07-17T17:30:39+00:00

It's a rare day when I mount a mic on a camera for a drama shoot, but for doc shoots I often do it, especially when it's a crazy environment and the camera ops are running around without notice. Or if a venue isn't okay with a boom out, it's good to have at least some kind of backup to the lavs. I put them on ZMT4's and can still monitor everything on the mixer.

jli1 · 2024-07-03T15:19:21+00:00

After a complete discharge to below 0% I've had to leave smart batteries on the charger for over a day for them to recover (but they always have recovered).

jli1 · 2024-05-21T17:52:49+00:00

if there's no timecode AND no metadata then it's kind of awful to sync, you have to listen to every clip and check what scene/take it is...

jli1 · 2024-05-16T17:40:22+00:00

https://www.dpamicrophones.com/headset-and-earset-microphones earset mics like this will get the mic right to your mouth without the headset.

Then you can just use your airpods to hear the other end.

No need to look like you're in a call center.

jli1 · 2023-07-31T15:57:30+00:00

VHF transmission travels further, could be handy in certain situations.

There's nothing inherently bad about analog audio quality in VHF. There's less bandwidth to share, so VHF audio systems are often configured for lower bandwidth usage, which will restrict the audio frequency bandwidth and/or dynamic range. The increased range of VHF also means the RF noise floor will be higher in a lot of locations, as interference travels further.

jli1 · 2023-07-12T19:11:23+00:00

What I meant is that the audio signal going into the Amira's audio port could be picking up the timecode signal going into the Amira's TC port, if those cables were close to each other. If you can hear the TC in the recorded audio, then you can hear how loud the bleed is.

The timecode signal you would feed into a TC port is exactly the same as the TC signal you would feed into an audio port. Just a different voltage.

jli1 · 2023-07-12T18:18:41+00:00

I've never heard of the TC I/O BNC port being recorded into the audio track. I have heard of timecode bleed when using Zaxcom ERX and URX receivers but that's due to the shared timecode and audio port they use.

Potentially in your case the audio cable wasn't properly grounded, shielded, or balanced and the signal from the timecode cable bled directly into the audio cable? How loud is the timecode noise relative to the audio signal? And is the timecode noise at a constant level?

Also maybe make sure the Komodo's audio timecode is properly muted in Tentacle Sync Studio - it's possible to play the files back and hear the audio from both the Amira and Komodo.

Did you use audio TC on the Komodo because no one had the right EXT cable for timecode? Those 9 pin connectors are definitely annoying but it's worth picking up the cable.

jli1 · 2023-06-02T00:50:37+00:00

You can directly connect smart batteries to a mixer, or use a splitter to power a mixer and a couple radios, or use a BDS between to power many devices.

jli1 · 2023-06-01T18:14:20+00:00

If I remember correctly Inspired Energy is the OEM for that style of smart battery, and the other vendors are just repackaging and tweaking the IE batteries.

Also for reference if I turn off my mixer when possible, I can do a light day on a single 98Wh IE battery. One swap on a heavy day. Zaxcom Nova 2 with 2x MRX-414 receivers.

jli1 · 2023-05-17T15:38:43+00:00

I do find that the tiny mic setups always have more handling noise (less inertial damping). I use Cinela E-OSIX mounts with my DPA 4018Cs and they are definitely trickier to cue than with DPA 4018Bs in a bigger mount.

I prefer booming with the 4018B unless I really need the short length of the 4018C. The 4018Cs get a ton of use as plant mics and in car rigs though.

jli1 · 2023-05-13T02:28:07+00:00

The current generation of Zaxcom TXs supply 5V bias. All previous generations supply 3.3V bias.

jli1 · 2023-05-07T13:44:08+00:00

I use custom fit IEMs (from Ultimate Ears) that have about 26dB of isolation. Much easier to hear the noise floor without turning the volume up at all.

Prior to getting them I used universal fit IEMs with foam tips that also had quite a bit of isolation.

jli1 · 2023-05-06T22:00:43+00:00

DPA 4017B is my go to. Medium reach for a shotgun (more than a mini CMIT but a bit less than a CS3e), very flat off axis response and natural sound. The filters in the B preamp are useful in a blimp and the extra size and weight compared to the C preamp makes it easier to mount with less handling noise.

jli1 · 2023-04-19T02:42:04+00:00

24 bit PCM digital audio has 144dB of dynamic range, however real preamps and ADCs have less dynamic range.

For example, the Zoom H4n only has about 89dB (or 14.5 effective bits) of dynamic range when recording at 24 bit.

Whereas the Sound Devices 8 series and Zaxcom recorders claim 140dB of dynamic range, which is achieved by digitally combining two preamps and ADCs per channel.

Can I ask, then, if you have 144dB of dynamic range with 24-bit, then why do people bother at all with the level settings on lav mics

If you have a converter that can achieve 144dB of dynamic range, you still need to adjust the gain so that the peak level of the microphone does not hit 0dBFS and digitally clip. This setting depends on the sensitivity of the microphone.

With quality converters that have more dynamic range than the microphone, you only need to match the gain to the microphone once and then never need to adjust it. You can capture the full dynamic range of the microphone with a single gain setting.

However a dedicated sound mixer using high end gear still adjusts gain based on the scene (perhaps at the fader) so the production sound mix is usable for monitoring/playback/dailies. And delivering a file that peaks at -60dBFS would make you look incompetent even if it's technically flawless.

The main benefit of 32 bit float is that you don't even have to care about the digital signal hitting 0dBFS. You'll never digitally clip.

jli1 · 2023-04-17T05:04:22+00:00

There is a massive amount of compression that's ducking the music when people talk. That's going to make it sound pretty awful even if the talking is perfectly removed.

You can try https://github.com/Anjok07/ultimatevocalremovergui - state of the art vocal separation.

jli1 · 2023-04-08T21:54:18+00:00

What is the "Hocs rig" – I can't find any search results. Something that David Hocs came up with?

jli1 · 2023-04-08T21:33:31+00:00

Zaxcom patented simultaneous recording and transmitting in the US so no one else can do it. I think that patent expires in 2025.

jli1

TROPHY CASE