bcopenhagen

Mostly finished this up. I had to have it field ready for a gig starting yesterday. So far so good, but it's a simple gig... boom and one radio. Will patch in the last DC connector and give it more thorough testing next week. Phil- Thanks. As for the size, I wanted to keep it small enough to fit in a bag. I started, of course, by looking at off-the-shelf products and didn't want to go too much bigger from there. After going under the hood on my Sonosax a couple times, this was like working on an old American car... like when there's so much room, the mechanic actually sits inside the engine compartment. On the cart, this will just support the Microns. The 788T and the Audio's (in a quad box) will run from a Powermax. Derek- As Vin said, PTC fuses are widely available from several manufacturers. I used NTE because they were available from my local electronics shop (the excellent Al Lasher's in Berkeley). I didn't actually consider a switching regulator. The T-220 form factor was easy to work with; the LM2940-CT had been suggested by Evan at Vark Audio as a good one to use for the Audio's. The regulator is screwed to the chassis of the box, so that helps dissipate heat through the surface of the box (you won't see that in the photos below... hadn't done it yet). No master switch before the regulator. It's wired so that no power gets to the regulator unless I turn any one switch on. I'll see if I have some of my drawings around. Yes, the gauge was a bit overkill, but once I started, I didn't want to work backwards. I put about three strands inside the Hirose's and put the others on the outer edge. Then covered both in heatshrink tubing. Here's a few pics of the (mostly) finished box... You may notice red switches where the previous were blue. The blue ones sucked and melted, even at moderate solder temps. Life got easier with a switch that was only 50 cents more. -Brian

I love this idea. After countless hours researching cart wheels, power distro solutions, etc, etc, I think it makes a lot of sense to have a single place to put all the crazy projects we embark on. It even would make sense as a thread (whaddya think, JW?) so the subject of a post can define the project. EDIT: I moved my 9V distribution project that was previously here to the new category of Do It Yourself: http://jwsound.net/SMF/index.php?topic=6487.msg51588#msg51588 Thanks for the category! -Brian

Here's my latest project: a 9v power distribution box. Many factors led me to make this custom distro unit. 1) I use Audio Ltd and Micron radio mics, both of which want 9v external power. Microns say they'll take 7.5-16v ext power, but they say ALWAYS use their custom cable, which has a 9v regulator built in. And Audio Ltd specs say they'll handle 9-14v DC, but NP Li-Ion batteries at full charge will put out 16v. I don't have the luxury of the 10-18V range of Lectro's. 2) Of the off-the-shelf solutions, only Hawk-Woods has a 9v-regulated distro box. The BDS, from what I can tell, passes along whatever voltage it receives. 3) My Microns don't have a pilot tone to mute the receiver output when no Tx is present. So intermittent bursts of RF can hit the receiver with so much energy that, even with the pot down on that channel, it nails the front end of the preamp, and taps the power rails on my Cooper CS-104 mixer, which can be heard on the other channels being used. 4) Both Audio Ltd and Micron have inconvenient methods of powering on/off. The most intuitive way is to plug in the connector, and voila, power on. (The Audio's do have a tiny switch, but it is generally buried when in a bag rig). I don't like the idea of pulling the Lemo connector each time I wanted to power down unused receivers. It will tend to shorten the life of the connector, and put additional strain on the wiring to the connector. With all that in mind, here's the current progress on my switchable 9V regulated distro box. NP power comes in thru 4-pin XLR-M. Splits to (2) 5A PTC fuses. Output of 1 fuse goes directly to 4-pin XLR-F to feed 788T. Output of 2nd fuse goes from the breadboard to feed each DPDT switch. Each switch, when engaged, feeds the 9V regulator. 9V regulator goes back to each switch. Each switch feeds an LED and an individual output. The regulator only turns on when a switch is engaged. Outputs are (4) Hirose HR10-7p-4p (like on SD recorders); and (2) DC connectors. I'll post the final as I finish up. Nearly done. -Brian

I'm not going to endeavor to answer this for fear of giving you inaccurate info, but I will lend some clarity to your question. Correct me if it's wrong... First, you should let us know what you're planning to connect to, ie, on what machine/camera the 5-pin connector resides. If we guess that you're wiring up a 5-pin return for something like a Sony F900, then the 5-pin wiring scheme is: • Pinout for 5-pin XLR-M output 1 = GND 2 = L out + (hot) 3 = L out - (cold) 4 = R out + (hot) 5 = R out - (cold) If you keep "2 and 4 separate", we'll deduce that you mean you're isolating the L return hot (+) and the R return hot (+). So you're asking what to do with the GND, L out (-), and R out (-)? -Brian

It does leave something to be desired in the comm dept. Don't you also have to be monitoring the comm return in order to hear the boomer talk to you? (I haven't studied it closely...) Anyway, for the boomer's mic, do you know how to solder? I used one of these kits in the boombox as a preamp for the boomer's talkback. Ran it thru a momentary switch so it's not always open. Run it off a 9V, also inside the boombox. -Brian

Now THAT is a great feature. If I understand correctly, this has the potential to unify the metadata management of two separate recorders onto a single computer, ie, use the same Mac for Boom Recorder, AND for metadata wrangling on a backup 788T. Sounds like some testing is in order to make sure a single computer can handle this multi-tasking. Better than having two computers, or two keyboards, or switching a single keyboard between the systems. Someone correct me if I'm dreaming... -Brian

Things probably calmed down when you started sending emails discussing the subframe accuracy of your recorders. Don't mess with a soundie's TC! Most of us will geek it out till they're cross-eyed. Or we'll humbly shuffle our equipment off to be repaired. Glad to hear it's blowing over, even if it's still a bit mysterium...er, mysterious. If you have the energy, I'd still be interested to see how the 2 REDs' clip TC + slate numbers line up to the recorders' files. -Brian

If you've verified that TC in BR is never greyed out, that settles that. My thought was that if one of the machines lost code and carried on freewheeling on its own clock, then it might drift unpredictably. Can't answer you for the p17 clocking, but that's a pretty good guess (for interfaces with no WC). You've got a stumper. Looking back at the OP, why genlock the REDs? Could that be causing unexpected anomalies? I always just send TC to cameras. -Brian

What's your BR interface? Are you word-clocking it? You might try sending word clock from the 744T into BR as the Clock source. Double check BR prefs for "Metadata" menu, "Time source" setting; and "Audio" menu, "Clock source" setting. It's been awhile since I've fired up Boom Recorder, but it's possible that could clean up timing differences between the recorders. BR manual discusses another method for LTC and clocking on p. 17. Let us know if you get to the bottom of it. -vin I've worked for a long time with someone who uses both outputs from the GR-1 and never seen variance between the two outputs. But you're right, it's worth checking to make sure there's good code coming from each separate output, just to eliminate the possibility of a basic mechanical problem (bad cable?). -Brian

Paul, here's some food for thought as you consider new NPs. I looked at Globalmediapro and decided to go with B4B because they are more "local". GMP is a worldwide distributing company and I figured that if the batts had any problem (like charging), it would be easier to get answers and help from the Florida company than GMP. I was happy I did, because it was much easier to get on the phone with Kevin, the owner of B4B, who told me the info about the different alignment of the T tab. There are happy customers using GMP batts, but the the tech support was well worth $45 difference for 3 batts. Cheers, Brian PS - Paul, I still owe you a round for the 4 track when I'm in LA next.

Here's what I know about 3rd party NP batts with IDX chargers. I have several IDX batts and recently bought 3 NPs from Batteries 4 Broadcast, . I had been told there shouldn't be a problem charging on an IDX multi-chemistry charger (I have an AL-4). Of course, 2 out of 3 of the NPs from B4B weren't recognized by the IDX charger. After a brief conversation with the company, it was clear that this was not the first time they faced this. There are very subtle differences between the IDX and B4B batts, mostly in the way the charging tabs are lain out, most notably the Thermistor (T) tab, which must be connected for charging. 1. The IDX battery has a "half-tab" in a "full slot". Pictures will make this easier, see below the post. Look at the leftmost tab, and you'll see the difference (the blue battery being the IDX). This means that the T tab in the charger is only a half-wide tab. 2. The Thermistor tab on the B4B battery can sometimes be 1 or 2 millimeters off from the IDX batts. This means the Thermistor tab in the charger doesn't make connection with the battery. Again, for a thousand words, see 2nd photo below. Basically, the 3rd party batt will charge if it makes the connection with the T tab. One of my three batts is fine. The other two, I usually have to put them in a couple times, trying to rock the batt into the charging cradle so the T tab makes contact. I will explore a more permanent solution when I get thru a few other things on my list that are higher priority. Hope that helps some folks... Brian

Well, I just typed up a response that was summarily erased when I tried to post... In a nutshell, I second many of the responses you already have: -552 with a TC box (SBT or Ambient Lockit) gives you ENG mixer + 2 track TC recorder. Learn to make a good mix with 2 tracks. Many (if not most) of the excellent mixers here started with stereo (or even mono) recorders and learned how to make great mixes. You will take that skill with you for a long time, even while technology evolves. -I jumped into Boom Recorder in 2006, and looking back, my hardware recorder has worked on many, many more jobs. -As Philip mentioned, you'd need AC for your rig. Your NPs won't be enough if you need to shoot all day in a location with no AC available. -Sound dept is usually called on to provide a TC slate when necessary. Figure out how you'll be able to do this (buy, rent, school?). -Accessories will cost you more than you budgeted for. For example, if you don't already have a good set of headphones (7506 or equivalent), that's 100 bucks right off the top. That's the abbreviated version of my .02. Maybe that makes it .01. Brian

Granted, I think you're not looking for another RAM-mount recommendation....but IIRC, Paul Graff has implemented ram-mount for his a-la-cart laptop. http://jwsound.net/SMF/index.php?topic=1948.msg14641#msg14641 Send him a PM, he can probably give you some specific hands-on info. -Brian

Experienced the same... Somewhere, I can't come up with a link right now, I read that it's one second off while you're staring at it trying to figure out why it's out of sync. But during RECORD, TC display apparently locks in. Didn't see it myself, but it's worth a 10 second test next time you're on a RED shoot. -Brian

Careful! The Senator might cross over and bite your ass on DVXuser, too!

You could design your set to accomodate multiple plant mics. Rent lavaliers (wired, with power supplies) for your shoot. Also boom the scene with your Oktava as an overall guide track. Record multi-track and find the mix later. Brian

If you are obliged to send a guide track of the mix to the camera, heads up if you do this with a wireless feed: The Genesis has significant RF emission on the non-operator side, where you would think is the perfect place for a Tx. Your range will be much less than you might otherwise expect. We initially employed an IFB for this purpose, but we were made aware that the dailies were hitting like crazy. We switched to radio mic feeds, which helped, but the wireless Rx still showed huge RF activity as you got within 2 feet of the camera. Brian

You can see the "Onix Firwire" (that's all-new technology in WHICH settings? The Audio Midi Setup Utility? The Sound System Preferences? And this is when the Mackie is on 12V? Have you tried using the Onyx with a different audio software? If you can get the Onyx/12V to work with another Core Audio software, then the FW in the Mackie might be functioning OK. One thought I had is wondering what would happen if you put a powered Firewire hub between the Mac and the Mackie. Just a shot in the dark, really. But maybe having something between the two could provide some sort of power isolation. Brian

While rolling? Am I reading too literally, or do you want to send recordings to more drives while recording? I know you do a lot of long-form recordings, so cutting and re-configuring may not be realistic. FWIW, you can't add further record folders WHILE rolling. Brian

My solution may lean towards the complicated side... I've got the rig you're thinking about (788T / Boom Recorder), and I split digitally using a separate A/D converter: Lucid ADA8824. Sonosax feeds analog to the Lucid; Lucid feeds AES to 788T and lightpipe to a MOTU / BR setup. Yes, it adds another component, and it adds it to a "Can't Fail" position. So far no failures, and if something cataclysmic happens and all the recordings are blown to useless bits, I've always been prepared to own up to it, and tell the heads of state that we'll have to do it again. I will add that if I rebuild in the future, I will be seriously entertaining the Y-cable splits. Why? To decrease the potential for device failure and to decrease the dependency on powered devices, and the added complications of feeding them the power they demand (ie, the Lucid is an AC thing). Brian

Here's the post in it's entirety: http://jwsound.net/SMF/index.php?topic=4250.msg30808#msg30808 Poke around that thread, it's got some good info... -Brian

Thanks for the reassurance, PWS Carl. I was starting to get nervous... Brian

Can't say that I've spent the time to figure out getting TC out of PTLE without it being a LTC audio out. Generating MTC to a midi device must be down the right path, but wouldn't you just end up taking LTC out of that device? Seems like you'd want TC on an audio track anyway, so that any playback speed changes would be reflected on the TC track. (I'm getting out of my league, here, admittedly...) RENT was essentially done as Jeff describes. The system/workflow that Nelson Stoll and I put together was this: Playback rig: Pro Tools LE: DV Toolkit and Digi002 -7 Digi002 outs were routed to a Mackie 1402 for manual gain control of individual tracks (ie, sometimes you'd want to push the lead vox of a certain character, or back vox). Typically, these were routed to main outs for speakers. An isolated thumper could be tapped via Aux or by using pan isolation from the main speaker. -8th PT output was playback TC from a track. Signal flow: Mono music mix + playback LTC were fed to the recorder, and recorded on tracks 7 + 8. Yes, that reduced the total production sound track count, but we only missed it (or brought in an extra recorder) a couple times. Out of 27 songs, there were only a couple that had more than 5 principal speaking/acting parts in a shot. Slates: Ambient TC slates can display 2 timecodes. IFIRC, open slate displayed running playback TC, if it was running at the head of the shot. Upon clap, the slates showed running TOD production TC for 2 seconds. If playback was not running at the head, a tail stick was necessary. We broadcasted playback TC via IFB to the slates. Editing: AVID is capable of deriving Aux TC from a LTC track in a clip, and displays it as a window burn. So telecine had production TC for sync, editors had both, as well as a music guide track built into the production sound. Don't know if that adds or overwhelms the discussion, but it might help someone sometime. Brian

I have been using rechargeable AAs for slates and Lockits for at least 2 years. After trying Sanyo, Kodak, Lenmar, Tenergy, and Powerex, the most consistent performance has been the Powerex. Their 2700mAh performs well in terms of capacity (runtime), consistent charge voltage, and low voltage drop over unused periods. Don't buy cheaper rechargeables. They won't last over time. No experience with the new-ish breed of LVD (low voltage drop), such as the Eneloop. Size: true, the Powerex's are a little bigger. I spent a careful hour with a round file in the battery compartment of my Lockit, and it handily accomodates any AA now. No problems in the Denecke. Lockits can run 2 days if turned off overnight. Denecke slates are good for 2-3 days depending on display brightness. I have yet to buy my own iPowers, but have worked on features whereupon we changed the iPower 9Vs at lunchtime in the Lectro IFBs, put them on charge, then changed end of day for next day's work. That would assure they wouldn't die out in case of potential long hours (ie, 14-16 hr day). I imagine it should all go smoothly for you, Jeff. Brian

I don't know anything about the Fostex U#. I imagine you asked your post guy the same questions you pose here...ie, where does the U# exist in the Fostex file? Seems to me that if he wants it, he should provide you with more information how to achieve it. As far as Boom Recorder goes, the number of tracks in a polyphonic BWF are only indicated in an iXML parameter called <TRACK_COUNT>. Last I checked, Boom Recorder DOES NOT write track info in the BEXT chunk, (neither # of tracks, nor tracknames). The tracknames could be written into the DESCRIPTION field of the BEXT chunk, and the number of tracks could be written into the Coding History, but, alas, they are not. It's sort of unfortunate because Avid uses the BEXT metadata to propagate trackname metadata to Protools via OMF. So, Boom Recorder's tracknames (which only exist in the iXML metadata) don't survive an OMF to PT. I've suggested the importance of writing track names into the BEXT chunk to Take Vos, but I think most Boom Recorder advancements are being pushed to the eventual day when Boom Recorder 8.0 comes out. Not sure that helps, but it's at least some info. Brian