Brian Kaurich

*UPDATE* It has been about a year since I first built my 80/20 cart and I just wanted to give an update on how it has been working out in the field. I also wanted to answer some questions that I have been receiving. Everyone has been so kind & encouraging and it's nice to receive all the comments and questions. When it comes to loose bolts, I have only had to tighten the ones on the handles and on the bar the handles are attached to. Every time I check the rest of the bolts, they are secure. A couple bolts have fallen off from underneath the right handle because I forgot to check them, but the handles are still secure enough to move the cart up & down stairs safely. The rear axle consists of a 1/2” diameter steel rod held in place inside the center space of a 2” x 1” profile bar. The center space is slightly larger than 1/2”, so I wrapped some tape around the rod to make it fit in place. The 2” profile bar is secured in several spots to ensure that it doesn't come loose. I am constantly putting my foot on the bar so I can lean the cart back to move and it remains solid. The 16” wheels were purchased at http://www.northerntool.com/shop/tools/product_200199574_200199574 I have been very happy with how quickly the top module of the cart comes off to be placed inside the cab of a process trailer and the drivers have been very happy with its size. The entire cart is so small that I have even had it in the back of a follow van. I would highly recommend 80/20 to anyone thinking of building a cart. It is lightweight, versatile, and can be much cheaper than purchasing a new sound cart from a company. Thanks again everyone and please keep those questions coming if you have any.

I have been using my 80/20 cart for a few months now on several different projects and I have really put it through its paces. It's been up and down stairs, on and off camera trucks, in and out of my car, and on all types of terrain. It has also been used outside on hot days and into cold nights. I just checked all the bolts (took a little over 5 minutes) and everything is still tight and secure as when I first built it. I'm sure over time several bolts will loosen, but I can't imagine all bolts coming loose and causing a problem. When I was researching 80/20, I had read that the bolts would need to be tightened occasionally, but that didn't seem like a major concern for me. 80/20 is very flexible and easy to reconfigure. I could easily lower the height of the mixing board table and the top module stand by sliding it down the corner posts. If I wanted to make it taller and turn it into a standing cart, I would just need to buy four longer corner posts and replace the current ones. 80/20 is a very versatile system and it allowed me to build the perfect cart for myself.

The latency is minimal, a few frames or so, and generally it feels like there is almost no latency at all. The powerline extender works surprisingly well and I've used it with about 200 feet of stinger to get the signal around a beach house, which worked perfectly. The extender unit can be set to duplicate the Wi-Fi signal from the router, or it can be set to act as a separate hotspot with a different SSID and password. The encoder unit stays in the bag, connected to the router with an Ethernet cable, and the tranceiver unit gets plugged into an extension cord. As long as the power cable for the bag and the extension cord are on the same power line, usually connected with a cube tap, the Wi-Fi signal gets sent down the line. A photo of the setup is below. My favorite thing about the TeraView app is that I can take screenshots of my boom operators when they happen to be in front of the camera, or screenshots of wide & tight setups for dialogue scenes so I can laugh about them later. Some examples are also below.

I used the 80/20 online store to order everything and they charge $2 per cut. I studied the catalog and then used the online store to search for parts in the 10 Series (1" profile) to see what I could work with. I only had a tape measure and my imagination when I was designing the cart, so I made a bunch of sketches to figure out what I would need. An early sketch of the base module is below. I had other sketches that used circles to map out all of the screws that would be needed. It was all very unscientific but thankfully my measurements were correct and it all worked out.

@Philip Perkins: I used the 80/20 ABS haircell panels, which have a smooth side and a textured side. I used Velcro to attach everything to the textured side. @Derek H: No issues with the camera department because the Cubes are not transmitting wirelessly, just the Wi-Fi router is. The Cubes use Ethernet cables to connect to an Apple AirPort Extreme router in a bag. The router is flipped so the fan is at the top and the two Cubes are attached with Velcro. The other side of the bag holds the power cables. Photos are below.

That is the Teradek TeraView app. I have a router connected to two Teradek Cubes, which connect to the monitor outputs at video village. My iPad connects to the router and the TeraView app displays the video signal from each Cube. I'll use a Wi-Fi powerline extender if range becomes an issue.

Thank you all for the kind words. @Mirror: The top module cost about $300 for the 80/20 parts and the base module was about $800. @Wandering Ear: Four T-knob screws secure the top module to the base. Each nut has a set screw to keep it in place, which makes it very easy to line up and tighten quickly. The photos below show how it works.

For awhile I was using a modified baby stroller as a sound cart (seen here) and recently I decided it was time for an upgrade. I liked the idea of a two-module sound cart, much like the RastOrder SU, so I built my own using the 80/20® framing system. I purchased the Chindha recorder brackets first, then designed the top module around that. I then built the base module from the measurements of the top module. I made it wide enough so I can add rack rails in the future if I need to. The top module connects to the base module with four T-knob screws. I purchased a 3' long steel rod at Home Depot for the rear axle but I did not have the tools to cut and finish it. I contacted Gene Martin at Audio Department in Burbank, CA (www.audiodept.com) and he was able to take my cart to Drew Martin, who finalized the rear axle. He cut the rod, smoothed the edges, and drilled holes for the cotter pins. I am very thankful that Gene Martin and Drew Martin were able to take the time to do that for me. The basket on the back contains an Anker 60W 6-port USB charger for crew cell phones. I added waterproof LED strips above and below the control surface table. I used Velcro to attach them to the bars so if I need to make adjustments later, the strips won't be destroyed. This proved beneficial when I needed to remove a bar so I could thread some cable through a slot. The LED strips are multi-colored so I can make the cart glow red when I am rolling. I added a power switch for the LED strips and placed it next to the Mix12. For travel, the antenna FlexiMount clamps get flipped and an all-weather grill cover that I purchased at Home Depot is placed over the cart. Next I will build a smaller base module that is more portable and will allow me to use a Mix8 control surface with the top module. I have already had to take the top module into confined spaces and it has worked out perfectly. The only cables that connect the two modules are the Mix12 cable that connects to the Zaxcom Fusion and a power cable that connects the top module BDS to the Remote Audio Hot Strip on the base module. The photo at the bottom was taken by Jeff Rosenberg and it shows myself using just the top module in the underground corridors of a sewage treatment plant.

I agree that the Mix12 has routing limitations related to having only four options for Fader Channel Assignment. It would be amazing to route any analog or digital input to any fader on the Mix12 but that is not an option I have found with my Fusion 12. Perhaps the Deva16 has the option for infinite routing of the faders? Many times I would have been happy with faders 1-6 for digital inputs and 7-12 for analog inputs, but that is not even an option! Only four options for fader routing (#1: 1-6A, 7-12D), (#2: 1-8A, 9-12D), (#3: 1-8D, 9-12A), (#4: 1-4A, 1-8D) and I find that very limiting. Despite these limitations, I have been using my Mix12 since 2011 on many films and I don't plan to stop using it anytime soon. -Brian

Here are some current photos of my always-evolving stroller sound cart. I listened to the comments about the chaotic appearance and made some changes to clean it up. I have added a Zaxcom Mix-8 attached to an adjustable arm and the Fusion keyboard was moved to a much more convenient spot on the stroller. I removed most of the Lectrosonics wireless from the setup but a Lectro SRb receiver is still available on the bag if needed. I moved the phone-charging USB hub to inside the organizer basket. No more cable mess. I was very impressed with the Sound Guys Solutions new quick-release system so I bought some for the antennas as well as the booms. For travel, the Mix-8 quickly comes off the arm and the keyboard is adjusted to a safe spot. When it needs to be taken off the arm, the Mix-8 sits safely in the stroller next to the bag.

The advantages, for me, are too many to list and I prefer to work this way. What works for me probably won't work for most. I also prefer to have two boom operators at all times, which the producers make room in the budget for, but again, that is just how I prefer to work and it's not for everyone.

The producers are generally the first ones to plug in their phones to get charged on the stroller, so I'm not too worried.

Here are a few photos of my updated stroller cart. The Fusion is the master recorder with the Nomad now recording a 6-track backup through AES as well as operating as a Zaxnet controller for the transmitters. A small 2.4GHz one watt booster is connected between the Nomad's Zaxnet RF connector and a 9dBi directional antenna. A fanless 175 watt DC to AC modified sine wave power inverter (yellow box) was added which is connected to the Remote Audio Hot Strip with the PSC Pelican LiFE battery underneath the sound bag. The inverter allows the 2.4GHz booster to receive power from the battery when external power is not available. With a cube tap attached, the inverter can provide battery power to my laptop computer as well. I also added a keyboard for the Fusion and a flexible LED light connected to the Nomad's USB port. I added a five-port 8A/40W USB hub for crew phone charging and an organizer basket to hold the phones in. Each port has an on/off button so I can stop the charging if needed when operating on battery power. The USB hub and power inverter are connected to the Hot Strip with 4-pin XLR adapter cables. To quote a Key Grip I recently worked with, “A sound mixer with his own umbrella...true professional.” The base for the umbrella was taken from the light stand that is now the antenna mast on the front of the stroller. During a setup I noticed on my iPad “monitor” that I was looking at myself on one of the cameras. I took this screenshot with the iPad running the Teradek TeraView app. When I need to record in a vehicle or a very small space, the sound bag comes off the stroller and the Pelican LiFE battery gets disconnected from the Hot Strip and connected directly to the BDS on the bag.

George, that is a great setup and I love how compact it is. I really like the shelf below for the battery. Here is a photo I took when I wrapped out on my last project, ironically in front of the exterior of Paddy's Pub.

Here are a few more photos of my stroller sound cart.

I'll try not to make it look too easy and thank you for the inspiration, George. It already made my life easier when I was loading the gear since I live on the third floor and there is no elevator. Before I had a rack case with a 25 lb battery system and there was just too much unnecessary weight in the case. -Brian

I was impressed with photos I saw of George Flores' stroller sound cart (seen here) and I decided to go with the same stroller for my cart. The Petrol bag is sitting on a PSC Pelican LiFE battery connected to a Remote Audio Hot Strip, which routes power to the BDS on the bag. The Hot Strip also trickle-charges the battery when connected to external power. The Nomad is recording an eight-channel backup through AES using a standard VGA monitor cable connected to the Fusion. The antenna mast is a cheap light stand with the base removed and attached using Mafer clamps. I had a Lectrosonics rack mount multi-coupler modified by Victor at Location Sound so it could be used in the bag as well. The left iPad is running music playback using the Auria DAW app and the right iPad is receiving the Teradek Cube wireless feeds using the TeraView app. -Brian

I can only speak from my experience but I have used ZaxNet on several movies that employed the same post-production sound facility and there were never any complaints or mention of issues. There can be range issues when trying to adjust gain remotely if the transmitter is too far away. Timecode stays in sync since each wireless unit has an internal generator that it will switch to if it gets out of range, then back to ZaxNet when it is in range. I believe I read somewhere that the internal generator used in each wireless unit is the same used in the Fusion/Deva, but I could be mistaken.

I was looking at some photos today and felt I should share my experience using Zaxcom's ZaxNet on the Lifetime movie, “Blue Lagoon: The Awakening.” I have been using Zaxcom gear on all of my projects for a couple years now and not long ago I started taking advantage of the benefits that ZaxNet provides. This project was filmed in March 2012. During my first conversation with the post department for this movie, I was told that they would be providing me with four timecode lock-it boxes (2 for cameras, 1 for my recorder, & 1 backup). I was able to talk them into letting me use my Zaxcom ERX1TCDs on the cameras with ZaxNet providing timecode from my recorder. Originally, I was hired for the first ten days in LA and then a local mixer was going to take over for the rest of the shoot in Maui. The post department decided, during production, that they didn't want any changes to be made so my boom operator and I were brought to Maui with only a few days notice. My sound bag on the island contained a Zaxcom Fusion 12, two QRX100s, MicPlexer, IFB100, and a Comtek BST-75/216 transmitter. Wireless used were two Zaxcom TRX900LTH transmitters and a TRX942 for the boom. The bag was powered by NP-1 batteries with the Remote Audio BDSv4 & RM volt meter. I removed the knobs from the Fusion because they tend to come loose from constant use and I didn't want to lose any. This bag was put together with the knowledge that all the scenes in Maui involved only two actors on a deserted island. My boom operator, Aaron Eschenburg, loves using the TRX942 transceiver. He enjoys having the ability to choose to hear my mix or just his microphone, directly from the unit. There were also times when he was able to run ahead with the production, record the audio for a quick shot on the TRX942(with timecode from ZaxNet), and then I was able to transfer the microSD card and add the file to the audio folder. I packed extremely light because I was warned that the locations were going to be rough. That was everything. This was only a small part of our journey to get to the main waterfall location. The TRX942 transceiver was kept in a small waterproof sack. ZaxNet allowed me to adjust the gain remotely when it was in the sack so Aaron could focus on other things, like not falling in the water. Needless to say, waterfalls are LOUD. ZaxNet was extremely useful because of the rough terrain. There were times when, due to safety concerns or forgetfulness, I just couldn't get to the slates to re-jam them. ZaxNet saved me because the ERXs on the cameras were always receiving the correct wireless timecode transmission from my recorder through the IFB100. The jungle and water never made it easy to get to the actors for adjustments so ZaxNet was also a huge help with wirelessly adjusting the gain on their transmitters. My wireless in Maui were on block 21 and this led to some occasional hits on the body packs. I was able to save the takes by transferring the direct recordings from the transmitters. The direct recordings always had timecode from ZaxNet and production never had to stop for the sound department. Here, boom op Aaron Eschenburg ducks below the sand-line to get the boom in close while the actors watch the sunset. Using Zaxcom equipment in Maui, especially with ZaxNet, was a wonderful experience for me. -Brian

*UPDATE* It has been almost a year since I first posted about the Teradek Cube and I just wanted to add more of my thoughts about it. I was originally using one Cube for reality TV work, with great success, and I have since added a second one for film work. Teradek has updated the design with the Cube-155 which has an internal Li-Ion battery, OLED display, microSD slot, and a lot of other features which makes it excellent for the field. http://www.teradek.com/pages/cube I now have my two Cubes connected to an Apple AirPort Extreme. This allows anyone with an iPad, iPhone, or iPod to connect to the AirPort Extreme and see both camera feeds show up in the Teradek TeraCentral app, http://itunes.apple....d450925081?mt=8 TeraCentral offers the ability to chose which feed to watch. The camera images in TeraCentral appear as still images that update every few seconds. This was taken while working on Lifetime's upcoming "Liz & Dick." Having the ability to see both Cube feeds allowed me to grab this screenshot from the "B" camera while it waited. My boom operator Aaron Eschenburg operating on "Liz & Dick."

My iPod is attached to a small Velcro piece from a Petrol bag, which I folded over to angle the iPod at me. This attaches to the Velcro on the sound bag. Nothing glamorous and for now, it works. The Teradek Cube is attached to the camera between the Lectrosonics slot receiver and the large microwave transmitter. It's the small black box with the little antenna. This is our stunned camera assistant and his iPhone. He couldn't believe that he could get the camera feed from now on. This is the hood mount that the camera assistant made for me out of black wrap and gaff tape. It works very well. The iPod can also save screen captures. -Brian

The recent firmware updates for the Cube have made it pretty much plug-and-play. I just plug it into the camera and it connects to the iPod through the Quick Stream link, no router needed. Our camera assistant also connects to the Cube with his iPhone so he can see the display for battery/tape changes. The Cube works great for us. When I use it on feature films with my Zaxcom IFB100, I use a 2.4 GHz spectrum analysis program (http://www.metageek.net/) to see exactly where the best frequency is. This helps immensely when using anything in the 2.4 GHz band. -Brian

The Cube does have a 1/2 second delay but this has not been a problem for me. The system rebooting during a battery change can be annoying but since I'm a sound mixer, I can wait for the picture. Dean, my sound bag has evolved quite a bit on this show. Season One I had my Sound Devices 442 & 744T with three radios. Season Two I had my 788T with seven radios. Season Three the production company decided to stop renting my gear and to rent all the sound gear from a rental house. After a short revolt when they gave us the Wendt X5 to use, we now have the setup that is pictured above. We have three sound mixers on the floor and a sound supervisor in a room recording to a 788T recorder. The store is covered with shark-fin antennas inside-and-out, which allows the supervisor to record the talent ISOs without fear of losing anyone. We have eight radio microphones in play and our booms are primary for the customers that come in. Our bags are about 25 lbs and much lighter than some other shows I work on. We use Countryman B6s and Sennheiser 416s for the boom microphones. I have been with the show for well over a year and the addition of the Teradek Cube has drastically changed the way I work. -Brian

With a Teradek Cube encoder attached to a camera, the video transmission can be connected to over WiFi. I work as a sound mixer on a truTV show called Hardcore Pawn and I receive the video feed from my camera on an iPod Touch. I power the iPod from the USB port on a Remote Audio BDSv4u box and this allows the iPod to stay on all day. The ability to see the exact frame has made me a much better sound mixer for this show, which is filmed at a Detroit pawn shop. When the customers start getting angry and wild, the video feed on my iPod helps to show me exactly how close I can get my boom mic in. It also helps me to change my mic placement whenever my camera op changes his shot. The Teradek Cube is definitely a great tool for any reality TV sound mixer. I have also used the Cube on feature films so my boom operators can see what the camera sees. They strap an iPod to their wrist and then they can always see the frame. -Brian