bcopenhagen

Try Jim's suggestions. You can also look in your System Preferences to see if there is a pane for Digidesign MBox 2, at the bottom under "Other". If there is, click it, and check the settings for it. If not, you should check that you have the Digidesign CoreAudio plugin installed. That allows the MBox to be used by any Core Audio application (which Boom Recorder is...). Look at the following path: MacHD>Library>Audio>Plug-ins>HAL If there is no Digidesign CoreAudio.plugin, then you'll have to install it using your Protools installer. If you have Protools on your system, it should be there, as the option to install it is checked by default when you install PT. If you don't have PT on that system, you need to install the Standalone CoreAudio driver. Let us know how you do. Brian

You're missing the obvious: aluminum computers look cool. And as everyone knows, coolness counts in Apple's world. Brian PS - maybe I should think about upgrading my Mini before they yank the FW from those, too

It actually folds the additional channels down to stereo via an algorithm: There's a thread on Snapper's forum: http://www.audioease.com/cgi-bin/forum/YaBB.cgi?num=1210630734/5#5 From the Admin post: left output = left front + left rear 3dB + center - 3dB right output = right front + right read -3dB + center -3dB I can only assume that the "left rear" is actually -3dB and the "right read" is actually "right rear" with a typo. It's seems to be engineered more for folding down LR/LsRs/C/LFE. Don't know how that model perpetuates to multi-ch files with high-track counts. On the forum, I was inquiring into the possibility of feature additions: pull-up/pull-down sample rate conversion batch process conversion solo individual channels of a multi-channel file Brian

Just a cable, in my experience. Brian

No answers for you about the OMF. Make sure you're using OMF 2.0. Pity about the 16-bit sequence. You should insist on a 24-bit version, so she learns to respect the decisions and work of the whole team involved in making the film, down to the audio bit-depth that was used by the production sound mixer. Not to mention preserving the superior noise floor characteristics and increased processing flexibility that 24-bit provides. Back to your original question....what I can tell you for sure is that you'll find a lot more info on other, more post-specific forums. Try these. http://www.2-popforums.com/forums/ http://forums.creativecow.net/forums.php http://www.gearslutz.com/board/post-production-forum/ Good luck, Brian PS - it's very good that you're testing out the technical side now. The effectiveness of the audio delivery can make or break how much effort your job will be...

or check out Snapper by AudioEase. It's a Finder plug-in that displays a timeline and plays back when you click on an audio file. It would definitely allow you to assuage the worries of your "concerned individuals". OK, maybe you won't assuage their worries, but you'll be able to play back recordings efficiently... I used the demo for the full 100-days and then didn't hesitate for a second to buy it. Totally worth the $. http://www.audioease.com/Pages/Snapper/snapper-download.html Brian

Many people report success for small track counts (8ish) going to USB2 drives on the threads below. There are other factors in recording to USB vs. Firewire besides just drive speed, esp. in terms of how the two protocols communicate with the operating system. Take V ventured into explaining that in these threads, which may be the discussions Philip P is referring to: http://www.jwsound.net/SMF/index.php?topic=166.msg1145#msg1145 http://www.jwsound.net/SMF/index.php?topic=1776.msg12354#msg12354 They are somewhat dated (2006 and 2007), but I would venture to say that even though processor speeds have advanced, the USB2 and Firewire protocols may not have changed much. But I'm no system engineer... After seeing how Protools can hang up while running high-track counts thru a USB-based Mbox (somewhat related...), I'm hooked on Firewire as my recording "medium". BTW, I had very good success recording a feature recently (BR/Traveler/788T) using a rotating collection of Lacie's Firewire Rugged Hard disks: http://www.lacie.com/products/product.htm?pid=10821 I ran them self-powered from Mini->Traveler->Drive. Brian

I recently integrated an AC/DC power supply suggested by our humble moderator into my cart with excellent success. < http://www.trcelectronics.com/Meanwell/rs-150-12.shtml > From this thread: http://www.jwsound.net/SMF/index.php?topic=1491.0 It does not, however, avoid the necessity for a UPS in front of the mission critical AC-only devices that are in the recording chain. I choose to run those devices via electrics- or house-supplied AC instead of running an inverter all the time. When house AC comes up short for those inevitable occasions ("let's run over here and shoot this little scene...just camera and sound"), I can run everything off battery/puresine inverter for about 3 hours before needing to swap out 33-Ah batteries. Worst case scenario, I'll skip going to Boom Recorder (usually my primary), and just use the 788T. I still have some work to do for extreme seamlessness (switching and whatnot), but it's worked well for a couple months now. Brian

I love the sound of DPAs. The 3 flavors I have in my kit are 4060, 4061 & 4071. 4060s are hi-gain, good for average dialog, very low noise floor. 4061s are the lo-gain version of these, good for louder delivery stuff (even yelling), but the compromise is a higher noise floor. 4071 is the advancement to both: low noise floor, low gain structure, so you can take the add'l gain you need at the transmitter. Removeable caps on the 4060/4061 allow for different degrees of boost at 5-10k. 4071s are sold with a "fixed" cap that gives the high-end boost that helps out with the attenuation that happens under clothing. I remove the caps from ALL the models (the 4071 comes off with an extra, CAREFUL tug), rendering them flat and take the EQ with the mixing panel. Bigger than COS-11s, sure, but very hide-able. Also sound fantastic as plant mics. I've suddenly realized I could be construed as a DPA fanatic as I'm using the 4017 (shotgun) as the primary mic on the current feature I'm booming. Brian

Just keep in mind that the 30/48k recordings will have to be pulled down to sync with the transferred film footage. That will involve running it thru an audio program and doing the pulldown before the recordings can go into FCP for syncing. Brian

I think FSBELLA was just correcting the spelling But your point is spot on as far as Mafers vs. Cardellinis vs. boom caddy/fishpole holders Brian

Heh, funny, same question on the Nagra VI thread... I'm guessing it'll be about as flexible as 3 & 4 on the 744T: menu based gain setting, set and forget. Seems like it would be an easy solution to go out of a Mix-pre or 302 into chs 5 & 6, and still have 4 mic pres with gain ctrls on the SX-R4. It is swiss-made after all. They're famous for their timekeepers. But seriously, I think this allows you to sample-lock the earth's rotation to the timecode and AD converters on your SX-R4. Brian

I received the press release on March 7, in which they stated "launched within next few weeks". Perhaps some of our vendor members may have more info on when we can expect to see units arrive (at least in the U.S.) Brian

Sonosax finally announced the imminent release of their SX-R4, an 8-channel HD + CF recorder that rivals the 744T in size. More info here: http://www.sonosax.ch/index2.html (click on the SX-R4) I was patiently awaiting this for more than 6 months, and finally went for a 744 when no news was forthcoming, and release dates were pushed back and back. The specs read well. I'll be intereseted to see + hear the real thing. From their press release: SONOSAX SX-R4 PRICING INFORMATION The eagerly awaited SONOSAX SX-R4 Recorder is to be launched within next few weeks. The development of the SX- R4 was also a big challenge for the entire SONOSAX team - putting together all the required features in a such small and lightweight format, lowering the power consumption as much as possible and yet keeping all of the legendary SONOSAX qualities of reliability and sonic performance was not an easy task ! The price of the SONOSAX SX-R4 starts at CHF 5'850.00 ( EUR 3'650.00 / USD 5'570.00 ). Additional pricing information for the options and accessories will follow shortly. -Brian

Looks great, Paul. I dig the Ram-mounts. Does it concern you at all having the laptop's connectors (USB; FW) sticking out at the outer edge of the whole cart? I'd be worried that someone will slide past the cart a little too close and bust off a connector, or worse screw up the port on the laptop. Also, wanted to correct the vendor name, in case anyone's lost in Google-land trying to find that: LCD4Video.com Brian

Thanks for the reply, Philip. You bring up a point that I just want to clarify for further posts: I'm not looking for any answer to "Am I doing it right?". By putting my own "high pass prefs", I figured I would be the first to answer my own questions Brian

A recent shoot I was on makes me want to gather a few opinions from the collective experience here. Hence, a series of questions about the usage of high-pass filters: 1. Does anyone specifically NOT use a high-pass filter for recording dialog? 2. What is your default roll-off setting (for those working with variable hp filters)? 3. Under what circumstances (if any) will you increase that freq setting? For myself, I usually dial in a hair over the 75 Hz mark on the Sonosax. I'll increase that a touch for any variety of reasons: -master shot gets into complicated boom-work that reveals some handling noise (though I try to avoid change a setting in the middle of a scene) -excessive wind that's just barely untamed by the windscreen of choice (i'll knock off more low end before going to the max with windscreens; I'd rather try to keep more of the sibilant high frequencies that get attenuated with heavier windscreens) -noisy insert car Thanks, Brian

Yes! More power to you as you take on that bold quest... What a sense of satisfaction when you nail a mix for a 2-page dialog scene. People around you will wonder why you're chuckling to yourself after a take. They think you're just another loopy sound guy, but you'll know it's pure giddiness. Have fun with the new Cooper. Brian

I've only worked with Outpost. They are top notch. Nice facility, excellent staff. -Brian

heh, that's another fine typo "...often shortened to the colloquial form UMP...the person charged with officiating the game, including beginning and ending the game, enforcing the rules of the game..., making judgment calls on plays, and meting out discipline." * Filmmaking is sorta like a big game sometimes... *liberally paraphrased from wikipedia http://en.wikipedia.org/wiki/Umpire_(baseball)

i re-routed the expendables part of this discussion to a new topic http://www.jwsound.net/SMF/index.php?topic=2120.new#new Brian

Thought I'd re-route this topic, instead of inundating the studio map thread where I veered off-topic... Here are the first posts Yes, exactly. I've been gradually increasing expendables. Wasn't sure how far it could go. Thanks. On longer, low-budget narratives, if they freak at my budget approximation of expendables, I'll suggest that they can pay a PA for the leg-work to provide batts and media if they really want to save a buck. -Brian

Hey Scott, if it's union work, I think you can insist on the 30-mile zone. If it's non-union, you should still insist on 30 mile and negotiate from there! Perhaps production companies are referring to the "Contracting Conditions" page on your website, which says: "Mileage is charged after 50 miles at .50.5 cents per mile - effective 01/01/08" The off-topic part: BTW, for your expendables pricing, I was wondering, are companies paying 20 bucks for DVD-Rs ? And are the 9V @ $5/ea for Alkalines or lithiums? Or whatever you give 'em? Reason I ask is that I'm doing a job where the last guy basically charged expendables AT COST ($1.36/9V ; $1 for DVD-Rs). So I'm trying to find the middle ground. Brian

Actually, Vin, there were some recent posts on this subject: http://www.jwsound.net/SMF/index.php?topic=2067.0 Those cover good travel options. As for the day-to-day: For cart based work where I'm loading my own van, the poles and mics travel on the cart, then come off and get sandwiched in a furnie on top of the gear in the van, with the mics sticking out a bit, floating. If I have a truck or trailer devoted to the gear, the poles stay on the cart. I also have used a smaller (older) golf bag in the past, for one or two poles, plus a mic stand. Frees up the hands for a load-in. -Brian

And that mix track is sent from an additional main out from your mixer? Multiple main outs for the mix track, I presume? Not directs... So, consensus so far is: 1) no backup rolling or 2) backing up only the mix track(s) Still want to know if anyone splits directs for a full multitrack backup... -Brian (Perhaps I am slightly more cautious about running a backup, since I use Boom Recorder as my primary system. It's solid as heck... it's the computer, external FW hard drive, DVD-RAM, etc. that I worry will decide to give up the ghost.)