TomBoisseau

I had something odd happen this weekend. We were shooting multiple days with an Epic. I used a "quick disconnect" fan newly built by Remote Audio to send audio to the Epic. All went well the first day. The second day when I checked return audio from the Epic, channels 1 and 2 were reversed. I double checked all my connections (I was using the 10p Hirose on the 664) and confirmed that everything was correct. We had to go, so we went ahead and recorded a couple takes. Then, at least I believe, they shut the Epic down and restarted it. Immediately the channel issue corrected itself! Now I suppose it could have been a glitch with the 664, or perhaps I accidentally hit a front panel short cut on the 664, but I don't think there is any short cut that would do such a thing. Has anyone here experienced this problem, and do you have any idea what the cause might be? Tom

So this means you CAN send timecode to thee Epic WITHOUT the Pro I/O box? What "port" do I use for this and how is it labeled? I was looking to do just that, but could not find an input (or output for that matter). I just finished a couple days with this camera and could not find a timecode input or output anywhere (it did not have the Pro I/O box). I'll be using this same camera again over the next few weeks and would really love to feed it timecode, espcially considering how badly itt drifts when shut down or during a battery change. Any words of cousel regarding TC or other Epic relateed issues would be appreciated. Thanks, Tom

I do this all the time with my 664 and a Yamaha 01V96i. I use the Left / Right RCA outputs to feed thee Link I/O. I DID find it necessary to pad down the outputs of the 01V so that it's meters match those on the 664. At the moment I can't remember the value of the resistors I used, but it was pretty simple and I was able to fit them inside the shell of the RCA connector. Of course, different mixers may require different resistor values. Tom

I frequently put cables in the oven on a cookie sheet at 170-180 degrees F. i rarely leave them in for longer than 20-30 minutes. Tom

I often do the same, wait a couple weeks and see what others are experiancing. I have not yet updated either, but 1.05 is sounding prettty stable. I'll probably will sometime this week. Tom

That's exactly what I use as well. Tom

I use the transpore tape alot, however its mainly to secure the lav cable to clothing. I have found, due to the fact that the transpore tape is rather porous, that it is also slightly rough and can cause noise problems if used right at the microphone. For securing the actual mic element, my go to is moleskin, although I do really like the little rubber COS11 holders. Tom

Yeah. Me too. I have a great memory, its just very short. Tom

I'm presently in the middle of a 15 day job with 3 Canon 5D's. I'm feeding a mixed "scratch" track via G3's. I have emphasized to my client that the audio on the 5D's are for "reference" purposes only and that they should use the files that I provide them from my SD 664. I was a little concerned last week when my client commented that the audio from the previous day from the 5D scratch track sounded just fine to him! I again emphsized that he REALLY should use the files from my 664. Fortunately, I think he will. I mention this only to point out that the newer 5D's (v3) have significantly improved the audio circuits with manual level settings and accurate metering. I am NOT suggesting that one should use those files, but it is significantly better than it was. Tom

Oh I'm sure it will make access to some of the controls more difficult, however at times it may well be worth the inconvenience. Tom

That's great! I want one. Where can I get it in the US? Tom

It's been working out okay for me. Of course I agree. I wish the handles were part of the bag, and I also am some what disappointed with the design of the 617, but for now it seems to be the best alternative. Perhaps eventually I'll see about modifying my old 552 bag. Tom

I just found and old PortaBrace handle and clipped it onto the rings. Tom

I'm on a show now and am trying to get the "waterfall" mode to work with the pc software, but all I get is a black display. What do I need to do to make it work? Tom

I really like the Audio technica Pro44's. They are relatively small, light weight, and inexpensive (under $100). They only problem is the pick up pattern is more like 90 degrees rather than 180, but that can be an advantage sometimes. I've used them quite successfully in car rigs. They have a very full sound with lots of low end. I also use the Pro44's for live panel discussions. I have about 18 of them that I use in conjunction with an auto mixer. I found them to sound much better that the old Crown PCC 160's, even though the Crown's are 4 times the price. One more thing. The Pro44's also have a really hot output, therefore less likely to hear any noise induced into the cable line. Tom

It should work. I have successfully recorded to tracks 7&8 using the SPDIF out put on the 01v96i on a few different occasions. I'll see if I I can remember how I did it. It's been 6 months. Tom

I use one of those on my Yamaha LS9 console. Because of its size, I can leave it in the slot and not worry about snapping it off. Tom

Check out, http://forums.prosoundweb.com/index.php#c1. Tom

I owned a FilmTek LSP4 for nearly 15 years. It was very reliable and a great unit, HOWEVER, the pots did get noisy after awhile. Tom

Wow. Im surprised you're having such problems. My G3's work "almost" as well as my Lectros. Tom

Would it be possible to "Y" cord the output of the transmitter and feed one side to the Rx to the Nomad and the other side directly into the Nomad? This would give you both the option for a pre fade iso and to send it to the mix as well. I dont own a Nomad, but I would think that would work, howbeit a little messy. Tom

I will confess, that is one reason that swayed me towards the 664, although I must admit the Nomad is "technologically" superior. I haven't regretted it, although I do envy some of the features you Nomad user have. If they had not scrapped the add on 4 fader panel, I probably would have purchased the Nomad, or at least would have given it much more serious consideration. Tom

I seem to be in the minority here, but I often use my G3's to send timecode. I'll put the transmitter on the camera and a receiver on my 664, slate, etc. This usually seems to be preferable. This way when the camera rolls, I have the 664 set to "auto record". Makes life easy! Sometimes Ill make the 664 the master, but that can be a problem if camera breaks away. Obviously not a real answer to your problem, but it's a method that has "usually" worked quite well for me. Tom

You might want to check out this thread (make sure you read the whole thing): http://forum.sounddevices.com/showthread.php?3868-Link-Input-Bleeding-Into-Aux1/page2&highlight=Link Also, here is the wiring for the XL-TA35 link cable. I'm not sure why, but apparently you need a to connect the sheild to the shell and then via a 10k resistor to pin 5. http://www.sounddevices.com/download/guides/xlta35_en.pdf Tom

At the risk of stating the obvious, the screen (or at least the meters) appears noticeably brighter if the "track names in meters" are turned OFF. I don't particularly like it, but that's what I revert to when outdoors. Tom