Nathaniel Robinson

As said above, if you've found a well maintained 744T for close to $1,000, you can't go wrong. Will be able to resell at that price in a heartbeat. It's still a great machine and an improvement on the dr680 in every way except track count.

It's strange, the listing doesn't mention it but the "mix in" jack is not the stock TA3. Looks to my eye like the hirose jack described in the direct out mod.

Vark Audio sells a mod for the Cooper CS104 that adds direct outs. https://id33157.securedata.net/varkaudio.com/merchantmanager/index.php?cPath=32_37 This one on eBay seems to have the completed mod: http://pages.ebay.com/link/?nav=item.view&alt=web&id=281758108358&globalID=EBAY-US

Any info/updates/changes re: Stand-alone mix ability Form factor of previously mentioned optional XLR5 output Use of controllers other than fader module (development of rotary module, or perhaps an "open" control surface standard?)

+1 for MIDI control. I use a Metric Halo interface, and the Mio Console's Record Panel is very useful but lacks the comprehensive features/metadata of Boom Recorder. Implementation of midi control would certainly push me to experiment with Boom Recorder. Edit: support for newer protocols like OSC or Eucon would also be welcome! AU support would be cool. Prefer big meters to dots.

My experience is not 1:1, as I use the EK300 IEM model, not the tour guide receiver. For TX, I am using the Sennheiser SK2000 (more on that below). For most of my jobs, video village is only a room or so away, 100' being a typical upper limit. For this reason I went with the higher fidelity system. I think the Sennheiser units sound great. The IEM are very robust, probably less prone to cosmetic cracks than Comtek 216. The SK2000 output can be pushed to 100mW, compared to 30mW on the "standard" SK100 G3 transmitter. Of course RF output is not everything, but I think it helps the system compete with the range on the 216-Option 7. I'd still give the edge to Comtek range. The antenna options for Comtek (Might Mite, Miracle Whip) offer further advantages here. The biggest "gotcha" is transmitting in the UHF band so close to my talent RX. Not ideal, even with a block or more separation. If I were working on reality stuff with other mixers, taking up this UHF space would be a big concern.

When the tentacle box detects phantom power or plugin power, it automatically attenuates the TC signal to mic level. When disconnected from such a powered input, it will revert to it's initial setup level. So you should be able to leave yours at the setting that makes the 633 happy, and let this feature deal with the DSLR.

As it currently stands, the tentacle sync boxes must match the frame rate of your incoming TC source. Frame rate must be adjusted from the tentacle sync setup app. Possibly what you are experiencing?

I can jam from recorder but it won't auto adjust the frame rate. Tested with 23.98 and 29.97.

Good results from mine so far with Scarlet, C300, and F3. Only issue I've had is that the units seemingly can't store user bits. Awaiting confirmation from manufacturer about that.

You shouldn't be using 12V in this calculation at all. You need the voltage that the manufacturer is using for their calculation, which according to their website is 3.7. (Q14 on this page: http://www.ianker.com/support/79AN7906-BA). A curious number to use for a 5/9/12V battery, probably dreamed up by their marketing department. So really you're talking about a 74Wh battery, subject to additional losses in useful capacity because of its integrated voltage conversion (20-30% according to Q6 on same page). Still not a shabby number!

I found you could fit a G3 receiver and Fiio headphone amp into one Comtek pouch, which wasn't too sloppy looking. But then you had multiple cables prone to disconnecting, and batteries dying at different rates. Ultimately I found buying the IEM models to be the best solution. As mentioned above, right tool for the job.

Such an exciting machine, I love the idea of a machine that can jump from a small footprint lav-and-boom interview into full fledged cart duty. I really hope they work out a way to mix with the front knobs. Given the choice, I would rather have the trim setting be secondary/menu-driven. OR some kind of rotary fader panel ALA CL8/FP8.

You may recall the Tentacle Sync, a tiny timecode box which raised $100k+ on Indiegogo back in December. It appears that production units are finally nearing completion, and "early bird" backers, such as myself, have units with pre-production housing en route. The company also just released a beta build of their software. The software looks great. I tested it out this morning, running TC into my iPhone via Denecke SB-3, and audio to my Zaxcom Maxx. I only recorded a few samples, but everything synced instantly and correctly. The software automatically looks for TC stamp as well as "Audio TC", and displays it's results. The software creates a sync map, similar to an Avid AutoSequence. It handled my multiple camera cuts; will test later to see if same holds true for audio cuts. Not sure why it flipped my video (bug, or user error?). At the moment, I cannot test export functionality, as it requires activation code or dongle. I'm excited about the ability to use the hardware as a dongle on guest computers, though. I think the DSLR crowd will be hooked once they see it in action on their laptops. If the hardware delivers on it's accuracy and battery life specs, I think it will be a big hit with my clients. Steadicam/Movi operators are going to love the weight, and for many DSLR workflows it will be an improvement on the standard PluralEyes.

Hi Matt, I am available and could cover that work. PM me or email at nrobinsonsound@gmail.com

PSS has something like this on their site: http://www.pro-sound.com/Scout%20List%202012.pdf Sent from my iPhone using Tapatalk

Also consider the Peluso CEMC6 series. A little bright for drum overheads or sibilant voices, but a nice sound and lots of capsules out there (the wide cardioid are great room mics IMO). Sent from my iPhone using Tapatalk

It's tiny, very close to 302 I would guess. Sent from my iPhone using Tapatalk

Ironically I encountered some pretty gnarly noise from a Dana Dolly this week when used as Philip is describing (fast reposition). Unfortunately it was a wide-and-tight shoot, with the wide camera crashing around whenever they lost a shot. Pretty incongruous with the interior office scene playing out. Sent from my iPhone using Tapatalk

Perhaps I've been lucky, but never had any problems with the Dana Dolly, Cam Tram, or Silent Cat. Sent from my iPhone using Tapatalk

Deeper on the page: "Using a bespoke Timecode Systems Sync lead into the :wave DATA port and a WiFi connection to the :wave, the MovieSlate[emoji768] 8 app syncs data and timecode with Sound Devices’ 788T, 688, 664, and 633 recorders. Start/stop shots from MovieSlate and/or a recorder. Sync timecode and metadata. Effortlessly generate stunning sound reports. All this is part of a MovieSlate 8 Pro Features bundle subscription." Current version of MovieSlate is 7.8 so looks like big changes ahead for 8.0. Sent from my iPhone using Tapatalk

Looking forward to checking it out! Sent from my iPhone using Tapatalk

I have a few 211/um200c sets that I use along side my 411a/SRB when I need them. I find they all sound similar enough to mix comfortably. Don't forget that Lectrosonics have made incremental upgrades very easy with their backward compatibility. So when you want to make the jump to SMQV, you don't necessarily have to lay out the cash for a new receiver at that time. I still use my G3s as scratch to camera, and think it's a great option on small cameras.

This is the direction I went in: Even simpler, you could just add a Hirose connector to a 12v to 5v buck convertor : http://www.amazon.com/Autek-Converter-convert-adapter-DCCON-5U-0/dp/B00BMIVFK8 Sent from my iPhone using Tapatalk