bcopenhagen

Re: old MBox, I can confirm it works with 7.4.2 on OS 10.5.4 I do run into occasional USB buffer errors (that stop playback) with high-density edits or high track counts. Can't exactly trace that to the MBox, but it's worth mentioning. Brian

I'm most curious about the Micron antenna splitter. I own three 700 series and every time I think I've seen every Micron accessory, I end up hearing about some other product that I never knew existed. What's the model name/number? Is it an older item? Still available? Surely expensive... Cheers, Brian

I ran into a similar issue working at Genentech recently. For a variety of inevitable reasons, I ended up using my Senn G2 as a camera hop. We ran around the campus shooting interiors and exteriors. Exteriors, RF was clean as a bell, but in some buildings, I had this inexplicable overload problem. In others, it was fine. I started paying attention to the ceiling. Lighting wasn't banks of fluorescents, but it was many energy-saver single-bulb "canisters" sunk into the ceiling. Didn't seem to be the problem... I eventually linked the symptoms to some sort of motion detector device that looked a bit like a household fire detector. To test it, I found an isolated corner, I would stand still for a few seconds, watch the RF problem go away, then move something, and ZAP!, RF pinning the meter. No hits, just an ugly overcompression of the signal to the receiver. I confirmed this thru the rest of the day, noting the problem only when the devices were present in a building. I was told it was probably a motion detector for the automatic lighting. The other interesting facet of the symptom is that it was dependent on the microphone location (DPA 4017 shotgun). For one of the interviews, I stood underneath one of those devices, but the mic was through the door to an office that had no device above. No problem. I still wonder if it wasn't RF, but maybe an inaudible signal (16-20 kHz) being put out by those devices that the recording system could perceive, but I couldn't. I made sure the producer understood the issue, made the camera operator monitor at his end, recorded useable audio for the day, and put an asterisk by Genentech* as a shooting location. *always hardwire Brian

As Michael has begun to understand, it's not all that easy unless you're well-versed in HTML, XSL, XML, and CSS. However, after his inquiry for the sound report template, I decided I will post it on my website. I'll post again when I've uploaded it, probably over the weekend. Brian

Not to be a downer to this hot pursuit of the latest cutting edge technology, but... What would anyone really gain from a bluetooth keyboard going to a 788T? On a cart with a presumably fixed keyboard, is the absence of that 5mm-diameter USB cable really going to make the whole system more streamlined? In a bag, well, you still have to carry the keyboard. I guess you could stuff a wireless keyboard in your cargo pants-pocket with less nuisance, but at the point where you're taking it out to change a scene name, you're probably going to be just as quick using the rotary knob on the 788T. I AM actually curious to hear folks' ideas why a bluetooth keyboard would make our job as sound mixers easier, better, more efficient, etc. Taking a step back for perspective, Brian PS - I quite enjoy having a full size mac keyboard on the cart, since my fingers have known that style of keyboard for 15+ years.

Electrically, you should check with PSC to see if there's any amperage limit per Hirose connector. Practically... Once you power your 4 Rx, for what other possible equipment would you need 3 more HRS power outputs on a portable mixer? Is this a bag-rig, or are you using the Alphamix on a cart? More precisely, if you're using the ext pwr on the Alphamix, I could understand using the HRS outs as a sort of power distro for other cart eqmt. But if it's a bag-rig using the built-in NP on the Alpha AND powering 4 Rx, it seems like adding more gear to the same power source will mean you'll be changing NPs every 2 hours. (Caveat: I don't know how little or how much power the ek3041s draw...) If you go for it, make 2 (or more) of that HRS-4P to XLR-4F, and keep it in your kit all the time. Cuz you're hosed if that cable goes down. Brian ===edit: I just looked at the subject of the post, and it IS for an ENG bag.....doesn't change my questions, just answers bag vs cart....

I'm afraid I've got nothing more pimped than just the Beyer cushions. But I do like the feel of them. $19 for a pair from B&H, so they're comparable with 2 x Sony pads. As for response, I don't which direction you suspect bass response would be headed, Phil, but I found they took that little bite of high-end out of the 7506 with factory pads. I don't mind at all losing that extra treble, but it could rock some people's worlds who've been using 7506 for decades. my .02 Brian

Thanks for the multitudinous suggestions. I think I'll forego the grip-tape wrap on this one, and try some of the other good ideas here (insulation foam, kitchen drawer mats, wristbands). Cheers, Brian

These are all great snippets of insight. Jeff, the external cabling is a technique I absorbed from Nelson Stoll, whose boompoles I've learnt to use. It is as Phil describes it, with a cable that spirals around the extended pole and is locked in place at either end. I've swapped emails with a poster here who mentioned they thought it was an east coast technique, but hadn't seen it much on the west coast. Like Phil, I've borne witness to the frustrations of boom ops who come to work with me and have to wrap their head around this technique. But once you learn to use it efficiently it is quiet and neat. As for the grip tape, I've heard a number of convincing opinions why to leave it bare. I especially like the tennis wrist band idea. That relates to another idea I've been brainstorming: to come up with some other material (foam? fabric?) to put on the pole that would significantly reduce handling noise. Keep the ideas coming... Brian

So I'm trying to decide if I want to wrap my new short pole in bike handlebar tape (as my other one is), or just leave it clean. It's a 12' Ambient QP480 that I'm eventually going to cable up externally. Anyone have strong opinions for or against wrapped poles? Both listeners' and users' opinions are equally valid. Thanks, Brian

Good idea, Robert. However, Matthias is right about the input limitation. You can't use the AES input as a "back door" to the input architecture. The routing to tracks is built into the Input Settings section of the operating system, so you can only route inputs 1-8 to any/all of the 12 tracks. This was one of the first to go on my wish-list of software achievable improvements (which I WILL express to Sound Devices directly!): Allow the AES inputs to be routed to tracks separately from the Analog inputs. It could open the door to potentially 16 inputs to the recorder. I don't think anyone would mind that, even if not all 16 could be routed to individual tracks. Brian

I just did a commercial with the EX-3 cameras. The production wanted to go "light and quick", y'know, "doc-style" with no slates and no TC references (lockits) on the camera. They claimed they would only be using the camera mix tracks, and "never, ever sync to my multi-track ISOs" (I was mixing 3-5 people wireless + an occasional boom). Sounded like a post-production nightmare.... I eventually talked them into jamming the EX-3's to the TC on my 788T. The cameras WILL jam to an external sync (and indicate they have done so on the onboard monitor) but they WON'T hold it for long on their own. Any battery-change, menu change, even just a slight breeze will send this camera back to its own internally running TC. I did everything I could to help out post, re-jamming between rolls, even doing little "bloop" slates, (a quick shot of 1kHz tone onto the camera and the recorder when they were both running). I haven't had a call from post, so no news is good news, I hope. Bottom line is, I would recommend definitely setting up a workflow that includes an accurate TC being fed constantly to either the camera's TC input (Lockit or SBT), or sending LTC to an audio track if you can verify that the project will be cut with Avid, and can take advantage of the Aux TC method Avid supports. Cheers and good luck, Brian

Alan- Did you read this thread already? http://www.jwsound.net/SMF/index.php?topic=2430.15 That's where Graham talks about his experience testing and implementing the BCF2000 for use with Boom Recorder. He also worked closely with Gotham Sound. He's the gent Philip is talking about. Brian

Glad to have you here, Paul (Isaacs). It's a wonderful pleasure of this forum to have many developers and designers answering questions directly. Thanks for your input. Since you bring up the slate mic, I would (and perhaps a few others) very much like to see the enabling of the slate mic thru some alternative means than only the CL8. I thought it might be an elegant implementation through either the built-in logic input, or the logic inputs on the CL-1. Much obliged, Brian

Brainworx has a free M/S decoding plugin for VST, RTAS, and AU. http://www.brainworx-music.de/index.php?nav=26&um=2&lang=en I found folks talking about it over on the gearslutz forum. I've never tested it. My gut feeling agrees with Philip: Seems like an inline hardware solution that can easily be turned on/off might be less intrusive to the workflow within the NLE. Brian

It might be worth contacting Dan Dugan. He's up at the top if you're looking for an expert on Nagra 1/4". http://www.dandugan.com Brian

I don't know if the powermax has some failsafe mechanisms... but it's worth noting that the Carnetix (P1900 anyway) has a chip controller that will auto-shutdown below 10.6V. From the P1900 manual (p 9) "The SSC also contains a battery monitor which will shut the P1900 down in the event the battery voltage drops below approximately 10.6 volts. This will help prevent deep discharge and damage to your battery. " Just an FYI to keep you on top of your voltage drain. Brian PS - I used the additional 12V and 5V outputs to power an external HD enclosure with good success for a few years. Last job I did, I used Lacie drives powered by the FW bus, which alleviated the powering responsibility from the cart. I liked that.

whew...good thing you caught that before it reached widespread usage in 50 years we'd have to make up new meanings for ESP when people asked us what the heck that meant anyway sorta like MOS these days. bummer, ESR isn't as cool as ESP Brian

I abandoned paper reports a few years ago. For the most part, ESPs have been fine for the lower budget films I'm doing. Once a telecine house fussed a bit because viewing the reports required having a computer on hand, and the transfers were being done with DV40. I passed the printing responsibility along to production who took care of it. As for the report itself, I hacked my way into generating a customized report with Boom Recorder at first, back in early 2006 (using some pretty advanced programming techniques that were way over my head). Then Take incorporated an option to choose one's own Sound Report Template Folder. Boom Recorder now generates the metadata and my template creates the customized look of the report. (I attached it below). I also usually send along the CSV file that is generated, as this is handy for loading up a database; alot like the tab-delimited and/or excel-compatible file from the Deva. It occasionally comes back to kick me in the butt. For example, when I record only to the 788T in a portable setup (car rig, etc.), I have to generate a report for those recordings. Before Wave Agent was ported to the Mac, I was sending along a text doc as an addendum with VERY basic info about the recordings. I'm glad there are a lot more possibilities for the Mac now, what with Marc W's filemaker pro sound report, and Wave Agent. I've played with the demo for BWF-Widget Pro and it's a fantastic software, but I was on a PowerPC mini for awhile, and didn't relish the idea of running Virtual PC on my recording machine. I recently asked Take if he could allow Boom Recorder to read files from different recorders in the sound log window. This could potentially allow those files to become part of the automated report from Boom Recorder, saving a little time opening up a separate reporting software and creating the report, and unifying all the day's recordings into a single report. He thought it was a good idea. Anyone from Sound Devices listening? I'll second Philip's motion to incorporate ESP into the SD recorders... Brian SR003-REPORT.pdf

Fantastic! Your "lid" is very nicely done... I installed a hinged lid to my cart, with the computer and video monitor built in, but it doesn't look nearly so elegant. It was a necessity to having the 788T reside safely on the top shelf. How does the monitor fit into the lid? Brian

That's a good thought, Philip. Certainly the amount of time that we get to spend listening critically to EQ pales in comparison to post. Probably the wiser to stay on the conservative side when in doubt. I should say that I usually use a boom mic (with flat EQ) in the same area as the "control" for the EQing. In other words, before we roll, I compare the quality of the ambience for each of the additional mics to the boom on the pole (DPA 4017 or Schoeps 41). I'm not trying to change the ambience, just equalize the acoustic differences of a mic mounted under Jack's sweater vs. Jill's scarf. Also, I'm talking about pretty minute touches of EQ; ie, if a sweater is too thick to let enough high frequencies through, I should probably be re-thinking the placement of the lav mic instead... Brian

I use EQ mostly on radio mics, never on an overhead boom ('cept for hi-pass). Plant mics and mic'ing from under usually require a bit of tweak'uing, depending on the plant surface and/or mic position. Generally, I don't EQ to the voice. Instead, I listen to the ambience behind the actors' voices, EQ'ing to neutralize the effects of various differences in wardrobe and mic placement between actors, and to make fader transitions transparent. The ISO's go out pre-EQ from the Sonosax, so the flexibility is there for the post team to EQ themselves. One advantage to EQ'ing on set is that if you nail the mix for a scene, it could be that the post team can just use your mix track, without having to break all the ISO's out and EQ them separately. Less work for them. You get good karma. Brian

Slightly off-topic... Nelson Stoll has joined the ranks of mixing mixers in the last couple years. After a couple years at the board, I am now actually boom op'ing when I am credited as a boom operator with him. He's very good at either end of the boom cable. I've never heard him talk about using the figure 8 like that. I'll have to ask him about it. My guess is he was doing that before radio mics could be depended on for usable sound. Slightly on-topic... Several years ago Nelson gave me a copy of a speech he apparently delivered in Tokyo for some audio conference (sorry, don't remember the acronym) in which he promoted the idea of having a Sound Director for films: essentially, someone who would care for the sound much like the DP cares for the image from start to finish. That idea fit into the experience I was getting with both production and post. I was further inspired from Walter Murch's books and articles, and the numerous articles that Randy has written (if you're reading this thread, definitely check out <a href="http://www.filmsound.org/articles/designing_for_sound.htm">Designing a movie for Sound</a>), and I decided I might just try to be a Sound Director. Now I'm in post on the second feature for which I've done production and post. We'll see how things continue along.... maybe in 20 years I'm going to be repeating CrewC's lament: We were dreamers then. I'm not giving up yet... Sorry if anyone thinks this should be in the Who Am I? thread... Just got caught up writing. Brian another northern CA dreamer

The Mini power supply is spec'ed like this: Input: 100-240 VAC Output: 18.5 VDC @ 85 watts The "spec" mathematics say that it's a 4+ amp draw, but in my experience, the Mini draws significantly less, 1.5A or less. I once borrowed an amp-meter from the electric dept. while the significant components of my cart (mixer, audio interface, computer, computer monitor) were all running on the 12V battery, and the draw coming off the hot lead of the battery was somewhere between 1.5A and 2A. The mini was running off the Carnetix P1900. I've found other sources (see link below) that have indicated that the real world draw of the Mini doesn't get over about 40W, which corresponds to about a 2A draw @ 18VDC. In other words, I don't think the Mini will exceed the Powermax's 4A limit. So why not dial up one of your Powermax Ultra outputs to 18.5 VDC, slice up a Mini power cord, and feed the Mini directly from the Powermax? FYI, you'll have to sort out the mysterious grey iSense cable in the cable that feeds the Mini. The Carnetix manual says this: "The Mac must sense the presence of the appropriate power supply through the iSense wire on the P1900 output. Connect the WHITE iSense wire from the P1900 to the small GREY wire on the Mac mini DC power cable. " And another site has some very good info, as well as a solution for wiring up the iSense: http://www.blisstonia.com/eolson/notes/kensingtonmacmini.php Currently, my whole cart is in a state of power transition for the moment, as I've added a gaggle of AC-only components, inverter, etc., the whole nine yards. On the last feature, I ran the Mini via inverter, but I'm leaning toward re-implementing the Carnetix supply for 12V use, because I think a DC conversion will ultimately be more efficient than 12V to inverter, followed by AC-DC conversion thru the power supply to the Mini. Let us know what you decide. Brian PS - I went thru this a couple years ago: http://soundfacility.com/location-sound/mini-power-the-dc-hurdle/37

In continuing to work on both sides of the invisible curtain, production vs. post (isn't that part of the problem, that those portions of the organic whole of the film are divided entities?), I have spent some time thinking how to approach this. Depending on the vibe and the relationship I have with the director, I tend to put all the chips on the table, offering my sound design ideas from the beginning. Granted, it often depends on how I feel about the project, and whether I am interested in the possibility of working on post. In some cases, having only been contacted for the production sound, but getting jazzed by the script, I have written several page emails, breaking down the script from the perspective of sound design. On set, I've continued to push for certain ideas that will ultimately create a shift in the weight of the storytelling mechanism (ie, visual vs. sound). Sometimes, I've had success; other times, the confidence that sound will tell the story is just not there. So we go forward with telling the story visually, and then the editor uses it (because it's there), and then there's no space left for the sound design to fill in that piece of the storytelling puzzle. Which brings us around to what I think is Randy's point: if no one is taking the reins for telling the story with sound, then it will probably be told visually. Most likely about 3% of the crew is there to deal with how it sounds; the other 97% are there to deal with how it looks. And it starts from the earliest stages of the film, even during the writing process, and most certainly in how shots are designed and executed. Thanks, Randy, for your sisyphian (sp?) efforts to bridge the gap between post and production. I keep a copy of your "If you want to avoid ADR" document in my project binder, that I can present to producers or directors if I feel they need a brief education to a few fundamental ideas (from the perspective of sound) to capturing good performances. Brian PS - I find it interesting how this thread relates to the "sit in on a reading?" thread. They both discuss the role of the sound department during pre-production, and both tackle the different hats we have to wear as mixers: the conceptual, the technical, and the business. http://www.jwsound.net/SMF/index.php?topic=3166.msg22066#msg22066