NAB 2004 Report

NAB 2004

by Glen Trew

For TV and Film sound professionals, the April pilgrimage to Las Vegas is well known. Those who can, go. When they return, there’s no mistaking it. You can see it in their faces. Some call it the “1000 Booth Stare”. Most call it NAB.

The National Association of Broadcasters Show (NAB) is arguably the most relevant trade show in our industry. Never mind that compared to the representation of the “picture side” of the industry, sound is a nearly insignificant portion of the show -- we’ll take what we can get. NAB has more for us than any other tradeshow in the world.

The path to the neon shrine leads to a seemingly endless sea of the latest and greatest professional “candy." Actually, it is endless. It is impossible to spend quality time at every booth in the four days the show is held.

Traditionally, NAB tells our future by unveiling the latest in trends, techniques, equipment, and technology. However, as the cynics amongst us will quickly attest, NAB is more and more about showing prototypes and mock-ups, some of which will never be delivered and many (most?) of which may not be available until the next year. It’s true that some items have been shown in prototype form for three years in a row, so the cynics have plenty to feed their habit. But that doesn’t stop them from coming to NAB and sharing professional enthusiasm with their optimistic counterparts.

For Trew Audio, I suspect like many other tradeshow exhibitors, NAB 2004 actually began during NAB 2003. Arrangements and negotiations begin that far in advance for things such as where we want our booth to be. During the third day of the show this year, we actually started planning for the next year by selecting our booth location.

While NAB is about equipment, it is fair to say that it is just as much about people getting together. In this world of the Internet, email and FedEx, so much business is done so quickly and efficiently with no direct contact between vendors and customers, NAB has become very effective in filling that void.

On with the show…

First there was Deva. Now there are nine. Yes, nine:

Deva 4, Deva 5, Sound Devices 774, Sound Devices 722, Fostex DV-40, Fostex PD-6, Fostex FR-2, HHB PortaDrive, and Aaton Cantar. Whew… Where are all the non-linear naysayers now?

It should be stated that of the recorders listed above, the only portable recorders currently available for shipping are the PD-6, the Aaton Cantar, and the HHB PortaDrive. The Deva-2 has been officially retired by Zaxcom (though they remain the largest number being used), and the Deva 4 and 5 are now schedule for a June delivery, as are the Sound Devices 722 and 774.

It seems that potential owners who can afford to wait are waiting for the Deva series to be delivered before making up their minds which way to go. However, no longer is anyone denying that a non-linear decision will have to be made soon.

The Deva 4 & 5 share the same hardware, and are identical on the outside except for the number 4 or 5. The main differences are that the IV is 8 tracks while the V records 10, and the V is capable of very high resolution (192K). From a practical point of view, the Deva 4 will be plenty for most productions, but it’s interesting that orders for the Deva 5 outnumber the Deva 4 by about 10-to-1, even though the Deva 5 costs about $4000 more. Though neither the 4 or the 5 was available for delivery, they were recording and playing back, and most of the menu functions seemed to be completed. More info: http://www.trewaudio.com/deva_new.htm

The Zaxcom Deva Fusion made a surprise appearance (though not yet working). It is a combination, or “fusion” of an ENG mixer, non-linear recorder, and 2-channel wireless camera link. This all-in-one box drew a lot of attention, and obviously struck a nerve with ENG sound people. Since most of the components are already fully functional in individual components, look for this to be delivered before next NAB.

The Fostex PD-6 (6 tracks) has been delivering and actually working for nearly a year now. A sneak preview was given of the internal hard drive and the DVD Docking Station. The internal hard drive allows a safety backup to be kept after the miniature DVD-RAM has been handed off, giving it the ability to create perfect duplicates when (not if) need. The Docking Station will allow full size DVD-RAMs to be turned in instead of the mini size used in the internal DVD-RAM drive. More info: http://www.trewaudio.com/mixerjan03/fostex_pd6.htm

The Fostex FR-2 is Fostex’s answer for a direct replacement for the aging timecode DAT fleet. It’s lightweight, small size, high resolution, and high quality mic pre's and very low price (about $1299) got a lot of attention. Its primary media is a CompactFlash card, but it can also record at the same time to a a PCMCIA micro hard drive for backup safety. Read more about it here: http://www.trewaudio.com/fr2_portadrive.htm

The Aaton Cantar was shown again, this time with its internal CD-R working. The Cantar has been selling since last year, although rather slowly due to its complexity and high price. But those who have the money and the appreciation for superb ergonomics and precise machining will definitely consider the Aaton Cantar. More info: http://www.aaton.com/products/sound/

This is the first NAB appearance of the HHB PortaDrive non-linear recorder as a working product (though it’s third NAB, total). The unique characteristic of this 8-track recorder is that it can record directly into a ProTools session, completely eliminating the transfer step into ProTools. It records directly to its internal hard drive, and can also mirror to removable media such as DVD-RAM. More info: http://www.trewaudio.com/fr2_portadrive.htm

Sound Devices showed non-linear recorders, dubbed the 722 and the 744T, 2-track w/o timecode and 4-track w/timecode, respectively. These recorders will record to internal 40G hard drives and CompactFlash cards (getting bigger and cheaper every week). These recorders are ideal as a minimalist primary recorder or as a safety backup to the more expensive full-feature recorders. According to Sound Devices, the quality of the mic preamps actually surpasses those in the highly acclaimed 442 mixer. The machining and design of these new recorders are a departure from the Sound Devices rugged, anti-style, black box hallmarks. I think the surprisingly small size and new classy aluminum finish is reminiscent of the Nagra SN. Expected delivery: June. More info: http://www.trewaudio.com/sd722_744.htm

Portable Desk Mixers:
Cooper, SONOSAX, Zaxcom, Audio Developments

The highly acclaimed Cooper 208v2 was displayed in its latest configuration. Refinements include: eight channels of high quality A-D outputs with all the needed sampling freqs, balanced direct outputs from each input, enhanced channel routing, and enhanced monitor section. The result is a very solid, very user-friendly field mixer that is arguably the best sounding and most power-efficient of its class. More info: http://www.coopersound.com/tools.htm

SONOSAX is a name known for building mixers with great sound, Swiss precision, and irresistible style. The advances in the new SX-ST series board make up for several years since an advance in the SX series from SONOSAX. Seeing that the future of location film production sound will require multi-track capability, the new SX mixer is capable, with push-buttons, of routing all inputs, pre and/or post fader, in any combination, to 8 outputs. This latest in location mixers combines the best of analog sound quality and stability with nearly the same signal routing versatility of a digital mixer. This all comes at a price, but for those who can afford it this may well be the best bet. More info: http://www.sonosax.ch/SXSTVT/sxstvt_infoe.html

Zaxcom showed a lot of new stuff this year, including an 8-fader mixing panel and a 12-fader mixing panel for the Deva 4 and Deva 5. These two will fill the void left by the recently discontinued the Cameo-II mixer. According to Zaxcom, this digital processor/mixer was just too expensive to be priced competitively, even at $12,950. Instead, Zaxcom is opting for these control panels. The 8-channel panel was displayed ENG style in a bag specially made by PortaBrace. This arrangement kept the recorder control panel and the fader panel both facing the operator for desk style mixing while hanging from your neck. Amazing as it might sound, it looked like a fantastic idea, particularly for highly portable productions that require a lot of inputs (reality TV keeps coming to mind). The 12-fader panel was more hardware-intensive with common mixer controls such as EQ, SLATE, COM, TONE, AUX, etc, more closely resembling the Cameo mixer.

Audio Developments, well-known for their portable mixers, showed a very nice scaled down mixer that caught my eye. Four mic/line inputs with vertical faders, PFL, EQ, input trim, and more, are in a package small enough for ultra-portable needs. Powered by ten 15VDC or eight internal AA cells. More info: http://www.audio.co.uk/ad114/114page.htm

Portable ENG Mixers:
SONOSAX

SONOSAX, true to their nature, introduced another very unique design. The SX-42 is as beautiful as it is original. Ruggedly built from eloxed aluminum and watertight pots, SONOSAX is predicting a 10-year lifespan in tough conditions. Check it out at: http://www.sonosax.ch/SX42/sx42infoe.html

WIRELESS
Lectrosonics, Sennheiser, Zaxcom

Lectrosonics Venue

When it comes to the number of wireless systems needed on a sound cart for film and television production, six seems to have become the magic number. The problem they have usually been packaged in fours. While Lectrosonic did recently introduced a box for six receivers, it is top heavy if not ungainly. Plus, my personal preference is for a rack arrangement for cart use such as the 4-receiver single rack space multicoupler. But, six receivers are just too big to mount side-by-side in a single space panel, right? Well…

When visiting the Lectrosonics factory last spring, I asked founder John Arasim about the raw aluminum frame he had on his desk. He said he was working on a low-cost, modular, single rack space system that would hold six receivers.

Hmmm… Six receivers… the magic number.

It was to be called the “Venue” because the planned market was permanent installations such as churches, schools, and performance venues. That market would allow extensive cost-cutting because the ultra high performance of Lectro’s top models would not be required.

John asked me what I thought about the unit not having an internal AC power supply built in, because the price could be further reduced if powered by an AC-AC low voltage plug-in supply.

(Hmmmm… No internal power supply means lighter weight. Hmmmm…)

I couldn’t hold back any longer. I pleaded with him to consider making it with full-performance 400 series technology, because I thought the system would be perfect for cart use. And no, an internal AC supply would not be needed; in fact, a 12VDC power jack would be preferred.

So, a few months ago Lectrosonics privately announced that the Venue series could be ordered with either the economy or high-end (400 series) receivers, and would have a 12VDC power jack!

Six receivers in a single rack space panel? Yes! The receivers are very different from what we normally think of for wireless mics. The receivers are actually small modules that plug into a mother board containing the power supply and multicoupler. Significant cost and space is saved because these modules do not have all of the hardware that free-standing receivers have. This allows the magic number (6 receivers) in a single rack space, and also saves a significant amount of money.

The next question probably is, “What about when I want to go portable?" Well, so much money is saved compared to six standard wireless channels that several portable receivers such as the model UCR201 could be purchased. These extra receivers could be kept ready in a bag for when portability was needed. The same 400 series transmitters that the Venue system uses would be used for the portable receivers. Now that’s a kit.

The Venue receiver rack has an LCD screen that displays all of the important information such as spectrum analysis, signal strength, frequency, battery condition, etc. For an easier to read display and full remote control, a rear mounted USB port allows interfacing with a notebook computer. Very sweet.

So, you save money, reduce size and gain computer control. That makes it a… let’s see… a win-lose-win situation.

Zaxcom ENG 2-channel Digital Wireless

Why? One word: 2-channel-camera-link. Zaxcom really hit the bull's-eye this time. Traditionally a cutting edge company, Zaxcom’s products have previously catered only to the tip of the iceberg of the sound market, and typically with products limited to film production sound. That’s why I believe that even Zaxcom doesn’t yet realize how important their 2-channel digital wireless system is.

Two reasons that this will be a success: 1) It’s wanted. 2) There’s absolutely nothing else like it on the market.

Zaxcom has the only portable digital wireless system in the industry. Because their system transmits a pure data stream, this allows them to send two channels of audio with a single transmitter and a single receiver.

I’ve always thought that Zaxcom’s success was due to equal parts of incredible talent and incredible luck. As luck would have it for them this time, High Def video production is approaching commonplace status just as their 2-channel ENG wireless system hits the market. This means that more and more sound people who were used to working on film production are now needing to send audio to the camera. As if that’s not lucky enough, the camcorder toting reality TV market continues to grow by leaps and bounds, making wireless link to camera more important than ever.

Both of these genres of production must have audio sent to the camera, but neither want anything to do with being attached by a cable to the sound mixer. Plus, if getting two channels to the camera can be done by attaching just one lightweight receiver, then using two receivers is no longer an option. Lastly, because only one set of hardware is needed (1 stereo system instead of 2 mono systems), the Zaxcom 2-channel system is less expensive than two traditional analog systems. Case closed. Slam dunk for Zaxcom.

But wait, there’s more. The original intent may have been for a 2-channel wireless link to camera, but some network news engineers have some other uses in mind:

The typical "man on the street" interview (a la the network morning show) uses a bodypack lav on the talent who is also holding a handheld mic for the interview. The Zaxcom system would allow both mics to go into a single bodypack transmitter.

Another similar use would be to have two lav mics on the talent going into the same transmitter. In fact, the Zaxcom 2-channel system can be ordered with optional noise removal software that opens only one microphone at a time, always muting the microphone with clothing rustle or wind noise.

Couple all of these points with the fact that the Zaxcom system is the undisputed best sounding wireless available (most like a hardwire), and I’m betting that the backlog for this product will continue for at least the next couple of years. Not only is this good news for Zaxcom and those who will benefit from the product, in a way it’s also good news for their competition: This product doesn’t directly compete with anything else currently made. My prediction: This item will be huge.

Sennheiser Evolution “G-2” Series

Arguably the most wireless for the money, the Evolution has taken their economical big hit to another level, making it even a bigger bargain. Originally intended for the “prosumer” wedding videographer market, true professionals are realizing that there is a lot more to these little jewels than the price tag would suggest. They are small, power efficient, ergonomic, frequency agile, and the G-2 now has a spectrum analyzer display. Read more about them in their own article in this same newsletter.

Summary

Well, those were some of the highlights, but there was plenty more. From new boompole accessories from K-Tek and Ambient to an interesting high-wind screen from DPA, we tried to absorb as much information as possible. So, as always, if you have a need, we can help you with the best solution, complete with a revived spirit from NAB 2004.

See you there in 2005!


NAB 2004
by Glen Trew
For TV and Film sound professionals, the April pilgrimage to Las Vegas is well known. Those who can, go. When they return, there’s no mistaking it. You can see it in their faces. Some call it the “1000 Booth Stare”. Most call it NAB. The National Association of Broadcasters Show (NAB) is arguably the most relevant trade show in our industry. Never mind that compared to the representation of the “picture side” of the industry, sound is a nearly insignificant portion of the show -- we’ll take what we can get. NAB has more for us than any other tradeshow in the world. The path to the neon shrine leads to a seemingly endless sea of the latest and greatest professional “candy." Actually, it is endless. It is impossible to spend quality time at every booth in the four days the show is held. Traditionally, NAB tells our future by unveiling the latest in trends, techniques, equipment, and technology. However, as the cynics amongst us will quickly attest, NAB is more and more about showing prototypes and mock-ups, some of which will never be delivered and many (most?) of which may not be available until the next year. It’s true that some items have been shown in prototype form for three years in a row, so the cynics have plenty to feed their habit. But that doesn’t stop them from coming to NAB and sharing professional enthusiasm with their optimistic counterparts. For Trew Audio, I suspect like many other tradeshow exhibitors, NAB 2004 actually began during NAB 2003. Arrangements and negotiations begin that far in advance for things such as where we want our booth to be. During the third day of the show this year, we actually started planning for the next year by selecting our booth location. While NAB is about equipment, it is fair to say that it is just as much about people getting together. In this world of the Internet, email and FedEx, so much business is done so quickly and efficiently with no direct contact between vendors and customers, NAB has become very effective in filling that void. On with the show… First there was Deva. Now there are nine. Yes, nine: Deva 4, Deva 5, Sound Devices 774, Sound Devices 722, Fostex DV-40, Fostex PD-6, Fostex FR-2, HHB PortaDrive, and Aaton Cantar. Whew… Where are all the non-linear naysayers now? It should be stated that of the recorders listed above, the only portable recorders currently available for shipping are the PD-6, the Aaton Cantar, and the HHB PortaDrive. The Deva-2 has been officially retired by Zaxcom (though they remain the largest number being used), and the Deva 4 and 5 are now schedule for a June delivery, as are the Sound Devices 722 and 774. It seems that potential owners who can afford to wait are waiting for the Deva series to be delivered before making up their minds which way to go. However, no longer is anyone denying that a non-linear decision will have to be made soon. The Deva 4 & 5 share the same hardware, and are identical on the outside except for the number 4 or 5. The main differences are that the IV is 8 tracks while the V records 10, and the V is capable of very high resolution (192K). From a practical point of view, the Deva 4 will be plenty for most productions, but it’s interesting that orders for the Deva 5 outnumber the Deva 4 by about 10-to-1, even though the Deva 5 costs about $4000 more. Though neither the 4 or the 5 was available for delivery, they were recording and playing back, and most of the menu functions seemed to be completed. More info: http://www.trewaudio.com/deva_new.htm The Zaxcom Deva Fusion made a surprise appearance (though not yet working). It is a combination, or “fusion” of an ENG mixer, non-linear recorder, and 2-channel wireless camera link. This all-in-one box drew a lot of attention, and obviously struck a nerve with ENG sound people. Since most of the components are already fully functional in individual components, look for this to be delivered before next NAB. The Fostex PD-6 (6 tracks) has been delivering and actually working for nearly a year now. A sneak preview was given of the internal hard drive and the DVD Docking Station. The internal hard drive allows a safety backup to be kept after the miniature DVD-RAM has been handed off, giving it the ability to create perfect duplicates when (not if) need. The Docking Station will allow full size DVD-RAMs to be turned in instead of the mini size used in the internal DVD-RAM drive. More info: http://www.trewaudio.com/mixerjan03/fostex_pd6.htm The Fostex FR-2 is Fostex’s answer for a direct replacement for the aging timecode DAT fleet. It’s lightweight, small size, high resolution, and high quality mic pre's and very low price (about $1299) got a lot of attention. Its primary media is a CompactFlash card, but it can also record at the same time to a a PCMCIA micro hard drive for backup safety. Read more about it here: http://www.trewaudio.com/fr2_portadrive.htm The Aaton Cantar was shown again, this time with its internal CD-R working. The Cantar has been selling since last year, although rather slowly due to its complexity and high price. But those who have the money and the appreciation for superb ergonomics and precise machining will definitely consider the Aaton Cantar. More info: http://www.aaton.com/products/sound/ This is the first NAB appearance of the HHB PortaDrive non-linear recorder as a working product (though it’s third NAB, total). The unique characteristic of this 8-track recorder is that it can record directly into a ProTools session, completely eliminating the transfer step into ProTools. It records directly to its internal hard drive, and can also mirror to removable media such as DVD-RAM. More info: http://www.trewaudio.com/fr2_portadrive.htm Sound Devices showed non-linear recorders, dubbed the 722 and the 744T, 2-track w/o timecode and 4-track w/timecode, respectively. These recorders will record to internal 40G hard drives and CompactFlash cards (getting bigger and cheaper every week). These recorders are ideal as a minimalist primary recorder or as a safety backup to the more expensive full-feature recorders. According to Sound Devices, the quality of the mic preamps actually surpasses those in the highly acclaimed 442 mixer. The machining and design of these new recorders are a departure from the Sound Devices rugged, anti-style, black box hallmarks. I think the surprisingly small size and new classy aluminum finish is reminiscent of the Nagra SN. Expected delivery: June. More info: http://www.trewaudio.com/sd722_744.htm Portable Desk Mixers: Cooper, SONOSAX, Zaxcom, Audio Developments The highly acclaimed Cooper 208v2 was displayed in its latest configuration. Refinements include: eight channels of high quality A-D outputs with all the needed sampling freqs, balanced direct outputs from each input, enhanced channel routing, and enhanced monitor section. The result is a very solid, very user-friendly field mixer that is arguably the best sounding and most power-efficient of its class. More info: http://www.coopersound.com/tools.htm SONOSAX is a name known for building mixers with great sound, Swiss precision, and irresistible style. The advances in the new SX-ST series board make up for several years since an advance in the SX series from SONOSAX. Seeing that the future of location film production sound will require multi-track capability, the new SX mixer is capable, with push-buttons, of routing all inputs, pre and/or post fader, in any combination, to 8 outputs. This latest in location mixers combines the best of analog sound quality and stability with nearly the same signal routing versatility of a digital mixer. This all comes at a price, but for those who can afford it this may well be the best bet. More info: http://www.sonosax.ch/SXSTVT/sxstvt_infoe.html Zaxcom showed a lot of new stuff this year, including an 8-fader mixing panel and a 12-fader mixing panel for the Deva 4 and Deva 5. These two will fill the void left by the recently discontinued the Cameo-II mixer. According to Zaxcom, this digital processor/mixer was just too expensive to be priced competitively, even at $12,950. Instead, Zaxcom is opting for these control panels. The 8-channel panel was displayed ENG style in a bag specially made by PortaBrace. This arrangement kept the recorder control panel and the fader panel both facing the operator for desk style mixing while hanging from your neck. Amazing as it might sound, it looked like a fantastic idea, particularly for highly portable productions that require a lot of inputs (reality TV keeps coming to mind). The 12-fader panel was more hardware-intensive with common mixer controls such as EQ, SLATE, COM, TONE, AUX, etc, more closely resembling the Cameo mixer. Audio Developments, well-known for their portable mixers, showed a very nice scaled down mixer that caught my eye. Four mic/line inputs with vertical faders, PFL, EQ, input trim, and more, are in a package small enough for ultra-portable needs. Powered by ten 15VDC or eight internal AA cells. More info: http://www.audio.co.uk/ad114/114page.htm Portable ENG Mixers: SONOSAX SONOSAX, true to their nature, introduced another very unique design. The SX-42 is as beautiful as it is original. Ruggedly built from eloxed aluminum and watertight pots, SONOSAX is predicting a 10-year lifespan in tough conditions. Check it out at: http://www.sonosax.ch/SX42/sx42infoe.html WIRELESS Lectrosonics, Sennheiser, Zaxcom Lectrosonics Venue When it comes to the number of wireless systems needed on a sound cart for film and television production, six seems to have become the magic number. The problem they have usually been packaged in fours. While Lectrosonic did recently introduced a box for six receivers, it is top heavy if not ungainly. Plus, my personal preference is for a rack arrangement for cart use such as the 4-receiver single rack space multicoupler. But, six receivers are just too big to mount side-by-side in a single space panel, right? Well… When visiting the Lectrosonics factory last spring, I asked founder John Arasim about the raw aluminum frame he had on his desk. He said he was working on a low-cost, modular, single rack space system that would hold six receivers. Hmmm… Six receivers… the magic number. It was to be called the “Venue” because the planned market was permanent installations such as churches, schools, and performance venues. That market would allow extensive cost-cutting because the ultra high performance of Lectro’s top models would not be required. John asked me what I thought about the unit not having an internal AC power supply built in, because the price could be further reduced if powered by an AC-AC low voltage plug-in supply. (Hmmmm… No internal power supply means lighter weight. Hmmmm…) I couldn’t hold back any longer. I pleaded with him to consider making it with full-performance 400 series technology, because I thought the system would be perfect for cart use. And no, an internal AC supply would not be needed; in fact, a 12VDC power jack would be preferred. So, a few months ago Lectrosonics privately announced that the Venue series could be ordered with either the economy or high-end (400 series) receivers, and would have a 12VDC power jack! Six receivers in a single rack space panel? Yes! The receivers are very different from what we normally think of for wireless mics. The receivers are actually small modules that plug into a mother board containing the power supply and multicoupler. Significant cost and space is saved because these modules do not have all of the hardware that free-standing receivers have. This allows the magic number (6 receivers) in a single rack space, and also saves a significant amount of money. The next question probably is, “What about when I want to go portable?" Well, so much money is saved compared to six standard wireless channels that several portable receivers such as the model UCR201 could be purchased. These extra receivers could be kept ready in a bag for when portability was needed. The same 400 series transmitters that the Venue system uses would be used for the portable receivers. Now that’s a kit. The Venue receiver rack has an LCD screen that displays all of the important information such as spectrum analysis, signal strength, frequency, battery condition, etc. For an easier to read display and full remote control, a rear mounted USB port allows interfacing with a notebook computer. Very sweet. So, you save money, reduce size and gain computer control. That makes it a… let’s see… a win-lose-win situation. Zaxcom ENG 2-channel Digital Wireless Why? One word: 2-channel-camera-link. Zaxcom really hit the bull's-eye this time. Traditionally a cutting edge company, Zaxcom’s products have previously catered only to the tip of the iceberg of the sound market, and typically with products limited to film production sound. That’s why I believe that even Zaxcom doesn’t yet realize how important their 2-channel digital wireless system is. Two reasons that this will be a success: 1) It’s wanted. 2) There’s absolutely nothing else like it on the market. Zaxcom has the only portable digital wireless system in the industry. Because their system transmits a pure data stream, this allows them to send two channels of audio with a single transmitter and a single receiver. I’ve always thought that Zaxcom’s success was due to equal parts of incredible talent and incredible luck. As luck would have it for them this time, High Def video production is approaching commonplace status just as their 2-channel ENG wireless system hits the market. This means that more and more sound people who were used to working on film production are now needing to send audio to the camera. As if that’s not lucky enough, the camcorder toting reality TV market continues to grow by leaps and bounds, making wireless link to camera more important than ever. Both of these genres of production must have audio sent to the camera, but neither want anything to do with being attached by a cable to the sound mixer. Plus, if getting two channels to the camera can be done by attaching just one lightweight receiver, then using two receivers is no longer an option. Lastly, because only one set of hardware is needed (1 stereo system instead of 2 mono systems), the Zaxcom 2-channel system is less expensive than two traditional analog systems. Case closed. Slam dunk for Zaxcom. But wait, there’s more. The original intent may have been for a 2-channel wireless link to camera, but some network news engineers have some other uses in mind: The typical "man on the street" interview (a la the network morning show) uses a bodypack lav on the talent who is also holding a handheld mic for the interview. The Zaxcom system would allow both mics to go into a single bodypack transmitter. Another similar use would be to have two lav mics on the talent going into the same transmitter. In fact, the Zaxcom 2-channel system can be ordered with optional noise removal software that opens only one microphone at a time, always muting the microphone with clothing rustle or wind noise. Couple all of these points with the fact that the Zaxcom system is the undisputed best sounding wireless available (most like a hardwire), and I’m betting that the backlog for this product will continue for at least the next couple of years. Not only is this good news for Zaxcom and those who will benefit from the product, in a way it’s also good news for their competition: This product doesn’t directly compete with anything else currently made. My prediction: This item will be huge. Sennheiser Evolution “G-2” Series Arguably the most wireless for the money, the Evolution has taken their economical big hit to another level, making it even a bigger bargain. Originally intended for the “prosumer” wedding videographer market, true professionals are realizing that there is a lot more to these little jewels than the price tag would suggest. They are small, power efficient, ergonomic, frequency agile, and the G-2 now has a spectrum analyzer display. Read more about them in their own article in this same newsletter. Summary Well, those were some of the highlights, but there was plenty more. From new boompole accessories from K-Tek and Ambient to an interesting high-wind screen from DPA, we tried to absorb as much information as possible. So, as always, if you have a need, we can help you with the best solution, complete with a revived spirit from NAB 2004. See you there in 2005!