Todd Weaver

I took the Mac mini apart and removed the internal power supply. I put a volt meter on the outputs of the supply removed from the computer and I found four wires for ground and four wires sending +11.9 volts DC. Installed a four pin Hirose connector in old power plug hole and wired that right into the logic board per the pinouts from the old PSU. The touchscreen was an eBay find. It's made by some company called Faytech. It's 10 inch and connects to 12v DC, USB, and HDMI.

This setup seems to be working great with the 12v powered Mac mini and touchscreen.. As a bonus, I can run playback in protools right off of my main cart now.

Terror is the word.. Extreme anxiety. That's why I've felt it necessary to buy two licenses for everything.. They have no remorse for a lost hardware key.. A damaged one might be replaced after a very long time. The ownership of the software is considered as the dongle. You lose it or break it then tuff luck! Boom Recorder doesn't need a dongle and very easily installs itself on every OSX machine I own right off the App Store with my Apple ID. I hope the rumors of Take Vos being very ill are exaggerated or false.

In this day and age it is pretty much expected that you submit consistent data on your sound reports and even more importantly the metadata on the files themselves. I would be looked at sideways if I turned in audio files with incorrect or no metadata explaining what is what.

Trew audio in Atlanta has an anchor speaker on consignment for a good price. I think anchor might be out of business. Also, for a smaller option powered by two 9 volts, remote audio SPEAKEASY. Correction- Anchor is still in business.

Most modern editing systems can extrapolate relative playback time code from an audio track on your recording. Straight up music videos should have a wireless slate with playback time code. There used to be a timecode adjustment there for film, but most of that stuff is probably shot on a DSLR these days at 23.976. Generally with narratives with playback, music, singing, dancing, etc, I use the slates as usual with time of day jamming, and I send a timecode feed from playback to a dedicated track on the recorder. Some editing systems and software revisions of those deal with that better than others. It's always worth a conversation with dailies or editorial to find out what you should deliver.

The RED was not designed for audio. Not even a little bit. I would not have sent an even remotely usable track to that camera body. Those audio inputs should be used only for reference and only under extreme duress from the desires of post production. Use the sound recorder's audio absolutely.

Can we just convert this thread into a commentary about the failings of Walmart, I mean Avid with their mass produced, industry standard, crack pipe that is Pro Tools? Who wants to vent? I'm more pissed off about the corporate policies and business model than I am about the fact that the software is mostly dependable. Aka. You have to buy the software twice to have a backup for the stupid Ilok dongle if it fails.. And I've had one fail and I've misplaced one in the shuffle.

I just had mine in the shop about two weeks ago, but I don't see the 8aes option. I'll check the rev again, but I think it's 57.

Those sound like they might be counterfeits.

Email sent! Thanks so much. And I agree! We should make Larry the Prime Minister! Or we could make Larry King!

I chuckled.

It's obviously time to switch to Soylent Green.

I use ProTools (the COMCAST of DAWs) from the evil Avid company. For timecode, I just lay down a stripe of LTC on a track routed out to a channel on the recorder. I do a 10 second preroll of TC and start the playback audio right on hour one. (01:00:00:00) There is a handy LTC wav file generator online provided by Pehr Hovey. This makes it super easy and fast to generate a proper LTC stripe and to make sure the playback starts right on the desired frame. Mind your settings when creating the file! http://elteesee.pehrhovey.net/

I'll wait for the apple mood ring.

1 frame lag on my Nomad LCD. There may be a setting to correct that, I'll check on that with the wizards at Zaxcom.

Zaxcom claims that the LCD slate on Nomad is frame accurate. I'll do a test and post back.

It can probably be done with v-usb and a chip. I made it two different ways. This one is running on a board that has usb support. Not sure if the processor on nomad will recognize v-usb library on ATMega as a keyboard or not.

That's it. Gr-1 timecode switched through my switching device.. It works great with the proper settings and cabling. I'm about to split off that feed to do the same with boom recorder so I can use those 32 channels of Dante without losing the Deva for something like a 970.. I think I posted under equipment with photos when I got that remote roll stuff working originally.

Classic He-Haw!! I grew up with my granddad watching those constantly. Thanks for that Glen.

I hooked up a Mac mini last night via Dante to my Ql-1 and recorded 32 tracks overnight. I returned in the morning to find a file over 100gb in size had been recorded via boom recorder. (I overrided the file size limit) I would say VSC works just fine. I'm going to add the mac mini and a small touchscreen monitor to the cart after I do the 12v Mac mini mod, just for when I need a stupid track count. As for timecode, I'm going to just take the feed from my GR-1 through my remote roll switch, split it off the timecode feed going to movieslate, and route that to 1/8 TRS input of the computer. I'll add that input to the aggregate in OSX audio MIDI setup along with the VSC and not burn a digital channel, while giving remote roll function to the software. LTC can live on boom recorder channel 33 with autoroll function turned on. You must specify in boom recorder preferences to listen for SMPTE/LTC. The timecode can be routed to any track in boom recorder and will be detected automatically. The track does not have to be 'armed'. I'm going to ask Take Vos to add some metadata shortcut buttons to avoid having to use the keyboard so often, such as in movie slate and on the Deva. As a side note, I had some fun with OSX. I set the machine to automatically reboot after a power failure, automatically login without a password screen, and automatically launch the VSC software and boom recorder.. Plug it in, and less than a minute later you are just one click away from recording.

Does the input on that unit go to two seperate mic pres with different gain stages? If not, then as Jeff pointed out, it doesn't matter. The distortion has already happened. It did work nicely back on the old nagras. Sending the same signal and running one mic amp lower than the other to prevent saturating the tape too much.

I love the MKh50's in Boston Legal. Those judges and witnesses always have that nice Classic warm sound.

I use a lot of all digital workflow. The noise floor is well below anything I could have imagined just a few years back. Noise just isn't an issue with this type of setup.. Analog gain stages can add noise to the signal, depending on the preamp and analog circuitry. With digital, you won't add additional noise after the signal is converted to a bit stream. With these AES microphones, that starts somewhere just downstream of the capsule as opposed to the long run of tiny wires that the analog signal must travel through before reaching the A to D converter on your mixer or recorder. Each circuit an analog signal travels through along its way can have a minor or drastic effect on the final sound that ends up on the recording.

Yup.