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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

Maxx or SD 633

Michael Lindsay

Michael Lindsay

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Hi

I want to pop one of these in with one of our camera packages...

Which is easier to use?...at the moment we toss in a Sound Devices mixer, 2 basic radios and a 416 as a backup setup
Is there anyway to load a default setup fast? (Either on a zaxcom Maxx or 633)
I am in the UK (most of the time) is there any problem buying the 633 in the states?

Thanks for any advice

Michael L
 
Differences..

Differences..

Maxx is fewer recording tracks, fwiw.. but may also be a little cheaper..
Both from solid manufacturers, both well supported.
either would be a great addition to a shooting kit for doc and small shoots with dialog and timecode.
I think if you are in London, you may be able to get a hands on with both.. which I highly recommend, so that you can see which one you like better.
 
Michael
Have just been debating this one and in the end decided on the Zaxcom Nomad. The thing that swung it was being able to send scratch audio and timecode direct to camera. Nice not having to slate everything and also nice being able to have timecode going to more than one camera at a time. I will be returning from LA next week if you have any questions or want to see how my system is working.
Tom
 
All reports seem to be that the 633 is much easier to use than the Nomad (haven't tried the Maxx) it works in the same way as all their other mixers so people can be up and running with it pretty quickly. The Nomad seems to take quite a lot of learning, I have only just got it so not sure yet but it is possible to save a default set up (Ryan at True audio was kind enough to set one up for me). With the Zaxcom stuff prices are quite a lot less over here than in the UK but all returns must go through the dealer you bought it from.
 
I was oddly the first one to receive a Zaxcom Maxx stateside. I've been pretty happy with it and the preamps are lovely. I actually went away from the Sound Devices side of things (purchased it before the SD633 was out), so there has been a learning curve.

Took a look at the SD633 though. Both are nice. I do strongly recommend anybody considering these to hook up their gear and record some sample audio to know exactly what you're getting.
 
They're both very good. You pretty much can't go wrong either way, assuming you can live with the specific track count on the recorder. Both are very light and have low battery power requirements and record to flash drives.
 
Tom Hanmer said:
The Nomad seems to take quite a lot of learning, I have only just got it so not sure yet but it is possible to save a default set up (Ryan at True audio was kind enough to set one up for me). With the Zaxcom stuff prices are quite a lot less over here than in the UK but all returns must go through the dealer you bought it from.
Click to expand...

There is a Load/Save User Preset submenu that allows you to save and recall 3 different set-ups. I believe it's under the ENG section if not on the main menu.

There are a lot of shortcuts that can make your life easier once you learn them. My favorite combo is from the home screen: Play (enter metadata section) -> hover over note field -> PFL and you are taken to a menu where you can scroll through note presets instead of having to type using the scroll wheel.

IMO, Zaxcom mixer/recorders are great but what puts them over the top is Zaxnet. Having transmitters on talent recording directly to SD cards (with automatically jammed time code) has come in quite handy. I have a set up for sale at Trew if you are interested. Talk to Ryan and he'll hook you up.

Neverclip (ISO attenuation) is the icing on the cake- think of it as HDRx for audio that allows you more headroom for audio peaks without having to worry about limiter distortion or clipping.

The trade off for functionality is form factor and OS, where Sound Devices kicks the crap out of Zaxcom. They are much sleeker and more intuitive to use.
 
Late to the party... Can't speak for Zaxcom (other than the battery door of my ZFR100 broke within hours of owning it). I bought Trew Audio's first 633 in November 2013 and use it for 90% of the work I do. Day in/day out in all environments it has been rock solid with an incredible form factor and feature list.
 
Hi guys
We are going to get a sound recorder/mixer so we always have sound with or without a sound guy.
As I understand we can hook up
- Environment Stereo (2 XLR)
- Shotgun (XLR)
- up to 3 lavaliers or other radio controlled to the mini xlr
And we can record all of these at the same time.

As I understand we can also sync timecode to the epic and forward a scratch track to the epic. Am I right?

I REALLY like the idea to basically be able to put the recorder directly on the epic or at least very close, maybe a shotgun on the epic for run and gun and have lavs on people we interview. For more serious recording with dedicated audio recorder can just take the whole equipment and record with boom etc.

My first thought was getting a 744 or a 788, but they are heavy and do not have a mixer on.
Is there something else I should be thinking of?
Thanks!
/Andreas
 
Yes, you should look at the Sound Devices 633 or 664, or the Zaxcom Maxx or Nomad . the 664 and Nomad are larger/heavier.

you will want a timecode box solution.. Good ones include Tentacle Sync (you'll want a pair), Denecke SB3, Ambient clockit, or TImecode Buddy.
Epic really needs a constant feed of TC to match the recorder. This can also be done via a hardline from these recorders, if they are close enough to the camera.
 
Christopher Mills said:
Yes, you should look at the Sound Devices 633 or 664, or the Zaxcom Maxx or Nomad . the 664 and Nomad are larger/heavier.

you will want a timecode box solution.. Good ones include Tentacle Sync (you'll want a pair), Denecke SB3, Ambient clockit, or TImecode Buddy.
Epic really needs a constant feed of TC to match the recorder. This can also be done via a hardline from these recorders, if they are close enough to the camera.
Click to expand...

Thanks Christopher,
The Sound Devices 664 looks nice except that it records only 48kHz, I like the option for higher frequence for recording things that I can playback in slow motion. The Nomad looks pretty nice too but if wonder if Sound Devices are not a bit more sturdy in the field.

We also plan on geting a Denecke box for the Epic and a timecode clapper board. Then tentacle looks pretty cool, I have not heard of this before. Is it good?

Maybe we will get a Canon XF105 as a backup and behind the scenes camera, I love that it supports timecode.

Brr, dont want to manually try to synch again (after doing it with 7000 files)!

/Andreas
 
Tom Hanmer said:
Michael
Have just been debating this one and in the end decided on the Zaxcom Nomad. The thing that swung it was being able to send scratch audio and timecode direct to camera. Nice not having to slate everything and also nice being able to have timecode going to more than one camera at a time. I will be returning from LA next week if you have any questions or want to see how my system is working.
Tom
Click to expand...

This seems really interesting. When you send scratch audio and timecode to the Epic do you need to buy a reciever or anything? Sounds very interesing now when I'm digging into it.
/Andreas
 
AndreasOberg said:
This seems really interesting. When you send scratch audio and timecode to the Epic do you need to buy a reciever or anything? Sounds very interesing now when I'm digging into it.
/Andreas
Click to expand...
Yes, you will need dedicated Zaxcom receiver unit. But it is a very well thought out system.
Since it is a two track input on your camera, you absolutely will want to have a person actively mixing the sound that is transmitted.

I have owned and used both Zaxcom and Sound devices recorders mixers and combo units. They each have a little different style but are both very durable, and both sound great.
Yes, Tentacle is good. Made in EU, and great support
 
Christopher Mills said:
Yes, you will need dedicated Zaxcom receiver unit. But it is a very well thought out system.
Since it is a two track input on your camera, you absolutely will want to have a person actively mixing the sound that is transmitted.

I have owned and used both Zaxcom and Sound devices recorders mixers and combo units. They each have a little different style but are both very durable, and both sound great.
Yes, Tentacle is good. Made in EU, and great support
Click to expand...
Thanks for the answer Christopher. A few concerns about the Zaxcom:
- I guess I would need the Nomad for the wireless transmissions?
- Where do I buy these units in Europe? I couldn't find a single place that lists the transmitters
- How well do they deal with more extrem weather like deserts, snow and rain? We do shot in fairly harsh conditions at times.

Good to know about Tentacle. Will read more about them I like that they are small and cheaper!
Cheers!
/Andreas
 
Dealers page here..
http://zaxcom.com/vendors/

The Nomad has the option to to wirelessly send mono 2.4ghz Audio and timecode to the EXRTCD. IFB unit. This is done over Zaxnet.

They have very robust camera link setups that require external tranmitters,but that also have a backup recorder.



Thes are tough enough to give to clients on commercial shoots, and in rugged North American locations.. beaches, desert, humid areas... but get yourself a weather resistant sleeve if you are in the rain. I don't think any audio receivers can really do well without protection.. (Says the guy who had lectro waterproof unit fail in a pond).
 
I'm wondering what recievers would I actually use with Zaxcom. Lets say we have
- 2 lavaliers (2 transmitters?)
- Red Epic (one reciever of audio and scratch)
- a timecode slate (does this need a reciever too or maybe it can keep timecode)

Seems like the transmitters/recievers are quite expensive though, but maybe I'm looking at the wrong one.
/Andreas
 
Hi Andreas
I use the Zaxcom ERX 2s with my setup and use one on each camera. They receive a signal from the Nomad which contains one channel of audio and 1 of timecode. Another advantage is if you are out of range of the Nomad they still keep feeding internally generated timecode to the cameras and then automatically resync to the Nomad once back in range for the more accurate timecode. I think pinknoise in the UK sell Zaxcom equipment if requested though John (the owner) does not seem that keen. My feeling was the Zaxcom system is not quite as robust as Sound Devices which I would have got if I had been renting my equipment out to third parties however as an owner/operator it is great and the added features made it a simple choice for me over the sound devices equipment. I never want to manually sync audio and video again if it can be avoided. The way I have the system set up is that my wireless mics go into the nomad which then sends the signal to the erx 2. Hope that helps.
Tom


 
Thanks for the info!
So I only need a bunch of ERX2TDC recievers and put them on all cameras, I guess I wont need one on the clapperbord if I sync twice a day?
And then I will get timecode and mono sound sent to all cameras?
This is the reciever then?
http://www.pro-sound.com/p/SZAXERX2TCD.html

How would I do if I use lavaliers? Would I use sennheisers own transmitters or should I get Zaxcoms? I guess it would be more convinient wit Zaxcoms but the transmitters seems very expensive unless I'm missing something. All the transmitters are 1500 -2500 dollars from what I can see.
And if I understand I will be able to use the ERX2 to get timecode on Canon 5D or similar cameras by saving it into the sound file.

As I understand it the benefit with Zaxcoms compared to Sound Devices 633 is
+ scratch audio sent to Epic and all cameras
+ I don't need to get denecke timeboxes for the Epic or other cameras
+ More channels on the Nomad
+ more advanced features on the Nomad like "no clip"
Downside
- heavier
- more expensive
- more complicated
- not quite as sturdy
- harder to buy them in Europe or test them. Haven't found a single store even listing a price of the equipment!

All thoughts are welcome. Just want awesome sound with great timecode solutions!
/Andreas
 
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