Robert Buncher

OK, cautions heard and accepted.

Thanks,

Bob

Thank you.

Just wondering, if I upgrade from Protools 8 to Protools10 in the middle of a project, will I be able to import that project into Protools 10 and finish it there?

It is a thirty+ minute film with a video track and lots of audio tracks. I have most of the dialogue edit completed but have everything else to do yet.

Is this possible? Is it a good or bad idea?

Thanks

Bob

I should add that I only use the grips at the top of the pole. The bottom of each pole sits in a cup-like plastic plumbing fitting.

Both. The original fits my old 12 foot vdB and the mini fits the shorter K-tek. This is based on where on my cart I put the grips and which section of the pole that it contacts. The K-tek, being shorter is gripped on a smaller diameter section while the vdB is gripped on the fat base section.

Bob

I also have a shoot with an AF100 tomorrow. First time with that camera for me so this is timely information.

Thanks.

Bob

I don't own a Nomad, it is one of the options I am considering to increase track count. So regarding the screen I am just responding to comments on these threads. The idea of an larger auxiliary screen seemed interesting but probably not needed.

Bob

Regarding the issue of sunlight on the Nomad screen.

I have no idea if this is technically possible but what about some type of jack in the side of the Nomad that would feed an external screen, somewhat bigger that the screen on the face of the recorder. This screen would attach to the top of the nomad by a flex arm and rotate to the most advantageous position. The end result would be reduced glare and a larger screen.

Just talking through my hat.

Bob

This is actually quite difficult to explain. Maybe I can take a close detail picture (worth a thousand words, right?) how I pinned or locked the brackets. Basically I drilled 2 holes horizontally across the U-shaped track and this hole goes through the upper and lower "tabs" of the shelf bracket while it is fitted into the track slots. Then a bolt is placed through with a nut on the other end. This sort of works but has not really locked the bracket as firmly as I would like. I have to say, if I had it to do over again I would NOT use the FastTrack track or even the shelf brackets. I would find a way to attach the shelves directly to the nylon cart (since I added aluminum channel anyway to the nylon struts to support the track). I would use the plastic pegboard tiles again even though I had to cut them all up and mount them in aluminum framing I had to fabricate.

Thanks Jeff for the explanation and the caution on the FastTrack.

A couple years ago I was using an older cart built on a heavy steel hand truck that is actually just a small plywood box with shelves that attaches to the truck frame with hose clamps. It was not as ugly as it sounds but was heavy and only held an SD442 and an HD-P2 with extra space for a few small things. I need something that will serve as a bag cart plus carry more equipment.

Thanks again

Bob

Jeff,

In a couple weeks I have job coming up where I could use a cart such as the one at the top of this thread. I looked at the FastTrack material at Home Depot and looking at your picture I see you have pinned the shelf bracket. Could you tell me exactly how you pinned it for stability? There did not seem to be much to pin to at the connecting end of the bracket.

Thanks,

Bob

I have not had any problems or complaints.

I think the filter is for electrical noise produced by a hard drive.

The XL-1394 Power Filter is used when connecting bus-powered disk drives, DVD-RAM and hard drive, to the 7-Series recorders. The XL-1394 filters power supply noise generated by these consumer devices from inducing noise into the analog preamplifiers of 7-Series recorders.

Here is a link to a thread on the SD forums discussing using a CF card as an external backup writer.

http://forums.sounddevices.com/showthread.php?t=2204

Bob

I use the Sandisk reader as a backup writer while recording. I do not use the firewire filter and have not had any problem as of yet. I just hook it up with a firewire cable. I have been keeping it in a Petrol wireless pouch hanging on my Petrol 302 bag.

Bob

Rado:

I wish I could have a 3rd backup like a Fire wire drive or a DVDRam burner but is a little out of my budget at the moment.

I use this Sandisk firewire reader as an external backup rather than a fw drive or dvd burner. It is a cheap solution and I don't have to pull the recorder to hand off the card.

http://www.amazon.com/SanDisk-SDDRX4-CFR-Sandisk-Extreme-FireWire/dp/B000I04WWY/ref=sr_1_1?s=electronics&ie=UTF8&qid=1290524157&sr=1-1

Bob

With the latest firmware update, 1.2, the 552 no longer defaults to 30fps. If no tc input exists then the 552 just stamps time-of-day.

change - in the absence of a time code signal, timecode  & speed related metadata is not written. This is to prevent Final  Cut Pro from introducing unintended sound file speed changes.      The 552 continues to write the time-of-day value as a start time  code stamp in bEXT when when time code is absent.

http://www.sounddevices.com/download/552-firmware.htm

Bob

Information from a post last year that I followed and it works perfectly:

Quote from: Sam Mallery on December 23, 2009, 10:40:41 AM<blockquote>André  - I have an Edirol R-09HR in my bag as well that I'd like to distribute  power to. Is the lead that you use commercially available, or is it  custom only?

</blockquote>

http://www.dimensionengineering.com/DE-SW033.htm

IIRC, the Edirol requires 3V. At 3.3V, I haven't had a problem. It's a quick 'n easy solder job.

I'll give credit to Andy Turrett for providing me with the link right here on JWsound.

edit: Since I no longer saw a use for the AC supply, I used the molded 90 from it for the Vout of the switching regulator.          « Last Edit: December 23, 2009, 03:04:07 PM by André Boisvert »      Report to moderator      Logged    André Boisvert

http://singlesystemslate.com/ 

Newark has Lemo connectors.

I don't know about the 3 pin.

Here is a link to the 5 pin for the 744t:

http://www.newark.com/jsp/search/productdetail.jsp?SKU=12R0618&CMP=AFC-GB100000001

Bob

A question for Robert Sharman (or anyone whom owns an AT BP4029).

Robert, did you finally purchase the AT BP4029? If so, what is your take on it?

Thanks,

Bob Buncher

Philip, thanks very much.

Bob

One more question.

So I have a workable idea for a small cart but currently I don't have the work to pay for the equipment and if there is one thing I have learned on jwsound it is to buy the equipment that will yield a return on investment. So I will keep this equipment purchase plan in mind and enact it was the work presents itself.

One thing I do see coming more immediately is the need for time code. If I bought a Denecke SB-3 I believe I could either jam a camera or jam to a camera and then connect the SB-3 to the 552 and also jam the HD-P2. This would give me two or four tracks with time code. This seems like a good $500 investment. Later, when I might buy a 744t the SB-3 would serve me locked to a camera.

Does this sound correct?

Greg. I have read the discussions here about music industry boards and the guys that use them seem to think that in the final mix the sound is just fine. I don't have the experience to know.

Thanks

Bob

Thanks.

The gear I presently use is an SD302 in a bag with an R-09HR. Also, I sold my SD442 and have just gotten the SD552.  Most of the work I get can be handled by the 302 or if I need to feed more than one camera or have more than three inputs, the 552. I also have an HD-P2.

I am thinking of buying a 744T so that I can up the tracks I can record and to add the ability to generate time code.

I have had the opportunity to work from a cart with a boom operator. This was a multiple Red camera shoot; double system using borrowed timecode generators to sync the cameras and the HD-P2. I fed the main Red a scratch track from the SD mixer and recorded to the HD-P2.

I know I can work the same way with the 552. And if I got the 744t, perhaps recording two ISO tracks to the 552 and sending a boom track and a mix track plus two more ISO’s if needed to the 744t. But I am thinking of the possibility of using the 552 as a preamp, still recording two ISO tracks to it and sending the direct outs to an analog mixer such as a small A&H or Mackie.  That way I would have the use of linear faders, I could send a boom and mix and a couple ISO’s to the 744t and I could send whatever to the HD-P2.

I would be able to record up to eight tracks when necessary and still have a small TC generating recorder that would fit in a bag.

Does this sound like a reasonable plan?

Thanks,

Bob

The 702 can work stand alone but has a few limitations as a mixer, and only has 2 inputs.

Regarding the 702. I am guessing that the trim pots might be a problem riding as they are small and cover a lot of ground. I also don't see how you would be able to monitor a return from camera.

Back to my idle speculation on the 302 with internal recorder. It probably would not cannibalize Sound Devices recorder sales anymore than the 552.

Bob

Since the introduction of the SD552 I have been wondering if Sound Devices might make an SD302 with an internal 2-track recorder. It would make for a very compact and light bag for those times when you only need a boom or boom and one or two wireless to one camera.

Perhaps an SD702 might serve the same purpose--I don't know as I have never used one.

Just searching for the ingredients for a very lightweight Eng bag.

Any thoughts?

Bob

Looking for a Sennheiser MKH416. Either T power or P48.

If you have one for sale please email me:  rbuncher@verizon.net

I think I'll move this to the appropriate thread.