myke2241

Mic cable. i am looking for something like the kevlar cable stock used with the CCM stuff. i am probably pushing my luck but you never know unless you ask!

I know you can buy Schoeps cable stock but i am wondering if there are some similar alternatives. i would like to spend a little less money if i can.

I was at the 664 product demo on Monday at LS. i took some pictures of the 664 if people are interested. I dont think SD will increase the SR past 48k. If they did they would cannibalize sales of the 788t which they have stated many times the 664 is not a replacement to the 788t.

herronsound.com/?p=1837

i dont know if you LA folk have noticed this but i bugs me a ton! CBS local news uses a whoosh for their transitions between stories when they dont cut back the anchors. There is nothing wrong with that expect they use the same whoosh to announce breaking news. from a sound design stand point it pulls what i call the little boy who cried wolf. unless you are paying attention you dont care about the cue.

NBC LA uses a swoosh that is clearly a bad sounding Mp3 being played too loud.

This is happening because the audience no longer gives a Ship!! if people complained enough we mite see networks providing more QC. but when we have teenagers listening to their music on youtube. TD's now think that is standard quality. i just saw a segment for "trend" (what a joke) on NBC LA where to the report pulled a tech crunch clip from online. claimed he interviewed the guy and then proceeded to cover up the tech crunch logo with a oversize NBC LA banner! so if we are at the point where we lie about our sources and will let social media be acceptable standard for reporting the news. we mite as well let the crew from Entertainment Tonight just report it for us!

we have had insanely bad calls like the one we saw with Green Bay this last weekend happening to audio for years now. Audio's replacement techs are a joke since audio is only one of the 10 things these guys have been hired to do. I would consider most of the local news casters here in LA to no longer be true professionals in respect to their trade. we are just one social media report away from public access!

That's weird. When I use a Mac (my own or someone else's I just let the thing find any printers connected (direct or on the network) and it installs drivers and connects without problem. I was at a newspaper once and logged on to their network and asked the Mac to find me a printer. It wound up finding close to 30 printers in the building including the main presses....

That tells me there is some sort of network issue like the printer is set to DHCP rather then having a static IP.

The golden years are gone in Los Angeles. The law markers have just made it a very unfriendly place to do business. this is not new news at all! nor is it different then the struggles of joblessness in the nation. honestly it really doesnt make much sense to shot in CA when there are other booming " we'll do anything to get you here " business friendly states. CA is on the road to FUBAR pretty much every industry with high taxes and crippling cap and trade laws that are coming. hell they are going to make driving a car here a crime!

interns or staff, union or non-union projects shouldnt be under staffed to the point of degradation! people need to be paid fairly all around.

I believe the 788T limiter settings are set up as indicated below but just in case, here's a note from Sound Devices re: limiters:

How do I make the 788T limiter sound like the limiter on the 702/702T/722/744T?

The 702, 702T, 722, 744T, and 788T all incorporate analog limiters but the control and characteristics of the 788T limiters are slightly different. The 702, 702T, 722, and 744T have a fixed -4 dBFS threshold, 5 ms attack time, 20:1 ratio, and 200 ms release time. The 788T limiters have a variable threshold, release, and knee, and a fixed 2 ms attack time and an Infinite:1 ratio.

To make the 788T Limiter sound similar to the 702/702T/722/744T Limiter, follow these steps.

• Set the Setup Menu option INPUT: LIMITER THRESHOLD to -4 dBFS.
  
• Set the Setup Menu option INPUT:LIMITER RECOVERY to 200 ms.
  
• Set the Setup Menu option INPUT: LIMITER KNEE to Hard-Knee with 20:1 ratio.
  
• Set the trim levels so that the normal level is about -20 and peaks around -12 dBFS.
  

Taken from: http://www.sounddevi.../788t-limiters/

Thanks Dan.

I'm curious why you would need a limiter at 96k.

recording fire arms. ammo is kinda pricey depending on what you are firing. it helps to have good limiters for the first few test shots. also during some BG recordings. you sometimes have surprises. they are just safeties but i honestly wanted to see how they preformed.

Agreed, the 744t limiters sound better. SD pretty much added a compressor here.

It's because they are digitally controlled (still pre A/D). Not enough processing power to run them while recording at 96khz.

I'd really love a 788t that had fixed analogue limiters like all other 7-series recorders so that there would be no such drawback.

i came from a 744t and i guess i took the limiters for granted. I also didnt know the limiters were digital in the 788t. i always thought the limiters were digitally controlled analogue limiters interesting..

im at 96k guys. i bet that is the reason why. Now the question comes. why does i cant i use limiters at 96k! it seems like a very odd limitation.

Playing around with my new 788t i noticed the limiters were crossed out. I cant figure why they would be disable. anyone have some hints. Please do not say read the manual. i just spent the last hour searching how to fix this.

Thanks

i have been wanting to build my own foley pits and surfaces for a long time now. The issue i have is that space is limited since i live in a apartment.

I would personally pass on a LD mic on set unless it has a hyper pattern i can choose. you mite get thicker sound but you are also going to pick up tons of BG's. When i am doing VO or ISDN and the 87 is requested. i always run the talent close and i can still hear the room.

That is like me telling the news paper to stop printing ads but it is a waste of space, paper and cause people to waste their money on things they don't need. Which results in putting people in a bad financial place. its BS! We are very impressionable beings and i would say the paper is equally as guilty since they are telling you when and where we can go see these movie. everyone is a critic these days but no one want to be told they are wrong!

So i have received a updated price list. ramallo is correct you are better off buying a Nomad with beta prices these high. I hope this helps others!

4minxpricelist2012.pdf

This device was one of my first choices, finally, I chosen the Nomad due the ultra expensive options of the AETA.

The prices in Europe are (+ VAT in my country 18%):

-4 tracks= 3400€

-6 tracks= 3600€

-8 tracks= 3800€

-Timecode= 500€

-Soundfield option= 495€

-AC Adapter= 90€

-Bag= 275€

-Battery= 90€

Very pricy! how old is this pricing?

Probably not a good sign.

You are right on the mark there Matt. But i would still like to see what they got and get a bead on their mystery pricing / availability. The deck does look good feature wise.

I started a thread " Whats SD doing these days " to point out the huge cost / feature gap the 788 vs 702 -744 has. Sadly people did not get the point and i am not so sure Jon cared all to much either. and although i really liked my 744 i think the 4minx mite suit may needs a little more. I like to explore all my options.

A French colleague has bought one. He wrote a review:

http://afsi.eu/techn...r-4minx-de-aeta

Thanks. Not a bad write up. i wish the company would no respond to my E-Mails.

i am looking for a new deck and I want to revisit the Aeta Systems 4MINX which had a vapor release a couple of years ago.

I am interested to know if there is anyone on JW has battle tested the 4minx indoors or outdoors .

I find myself being sensitive around criticism for established manufacturers in our market that continue to expand and support their products. Therefore I ask you to please read the following with a grain of salt.

Unlike many other branches in electronics and sound, production sound specific brands for film and video have very few customers and among those, there are varying needs. Every year there is a new iPhone or droid device. I don't expect that from niche manufacturers. I expect forethought to possible expansion, reliability and durability. Honestly, I expect my investment to hold its value and seviceability for some time.

I've read quite a few posts about X-brand X-model killers. When will X-company come out with a new product that will destroy the competition The first thought that comes to mind is "grow up". These companies do not have the R&D budget of Apple or IBM. They do the best that they can at a given time and thankfully stand behind and support their products. I bought a 442 mixer 7 years ago. It retains close to 2/3 of its value as does my Lectrosonics. My 7 year old car that cost 5 times more is valued for less. They pay attention to our needs and look ahead.

I've said this in another thread: if one of these companies annually put out products that drastically devalued previous generations, I would not invest my money in that companies products.

I am for innovation. Manufacturers in our market plan to support and upgrade existing products with firmware/ software and occasionally hardware. I salute them for this. With regards to Sound Devices, I know I can rely on them. It's a company called SOUND Devices. Good for them for exploring other options. As a sound mixer, boom operator and utility, the more understanding I have of other departments, the better I am at my job. If anything, I hope they profit enough to invest more into R&D for their sound products.

Yep, what Graham said.

I think at least with their recent products, particularly the 744, 552, and the 788, their gear really holds its value, plus it's built to last. I think the whole "Sound Devices vs. Nomad" thing is really a "Mercedes vs. BMW" comparison, where both companies are fierce competitors but also put out great products at several different price ranges.

Pro sound is also a very small niche market, and there's good reasons for manufacturers to expand into new areas -- as Zaxcom has with wireless, and as Sound Devices has with video. I'm amazed and impressed that SD has done so well with the Pix, because that's a crowded market. (And I hear a lot of grumbling from Red Camera people because Red has no self-contained box that will make QuickTime or DNxHD files on the fly the way the Pix can.)

I was just at Coffey Sound a few days ago and saw several Nomads ready to be picked up, and was at LSC last Friday and saw a small stack of brand-new 788's going out the door. I think both are still selling well, each has pros and cons, both top-quality products put out by companies that push the envelope.

702 - 744 are dated but still relevant and great recorders. if anyone actually read my first post they would see what i mean. Yes pro audio is a very small market but that doesnt mean that a manufacture cant consolidate product lines and streamline available choices. SD has done this 442. basically look at the 744 and compare it the 788 feature set. now look at the difference in cost which is $1900.

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Yep, what Graham said.  <img src="http://i207.photobucket.com/albums/bb212/DJoe_01/thumbs-up.gif" /><br />

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<span style="color:#0000ff;">I think at least with their recent products, particularly the 744, 552, and the 788, their gear really holds its value, plus it&#39;s built to last. I think the whole &quot;Sound Devices vs. Nomad&quot; thing is really a &quot;Mercedes vs. BMW&quot; comparison, where both companies are fierce competitors but also put out great products at several different price ranges.</span><br />

<br />

Pro sound is also a very small niche market, and there&#39;s good reasons for manufacturers to expand into new areas -- as Zaxcom has with wireless, and as Sound Devices has with video. I&#39;m amazed and impressed that SD has done so well with the Pix, because that&#39;s a crowded market. (And I hear a lot of grumbling from Red Camera people because Red has no self-contained box that will make QuickTime or DNxHD files on the fly the way the Pix can.)<br />

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I was just at Coffey Sound a few days ago and saw several Nomads ready to be picked up, and was at LSC last Friday and saw a small stack of brand-new 788&#39;s going out the door. I think both are still selling well, each has pros and cons, both top-quality products put out by companies that push the envelope.<br />

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<p style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">702 - 744 are dated but still relevant and great recorders. if anyone actually read my first post they would see what i mean. Yes pro audio is a very small market but that doesnt mean that a manufacture cant consolidate product lines and streamline available choices. SD has done this 442 and introduced a more suitable mixer for the times. basically look at the 744 and compare it the 788 feature set. now look at the difference in cost which is $1900.</p>

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I actually like the fact that SD devices are solid and stand the test of time- nothing sucks more than to drop a few $1000s on a piece of gear only to find that it is outdated or superseded a few months later. I do love the fact that SD continually put out firmware updates that increase the functionality of their products without having to spend a another chunk of change.

If they were to release a new product- I would suggest maybe an 8-16 track recorder with mixer incorporated (something like the 788t and CL8 as an all in one device maybe).

i think they should drop the 702 line, add two more mic pres to the 744 and add a deck that competes directly with the nomad. and maybe shift the pricing downward a little so the Somad fits in at the top. this was the original point i was trying to make. SD is great stuff but their is a huge gap in the recorder lineup.

Hey Jon and the SD Folks,

How about a software upgrade to the CL-WiFi App? There are a few features I'd like to see:

1. The ability to enter sound report information and edit reports via the App. I love how easy it is to name tracks and all that with the current app, but was somewhat surprised that I had no access to the Sound Report menu and information such as Production Company, Job, Boom Op, etc. Seems like you'd want to be able to use the App to enter alpha-numeric data in any of the fields in the 788.

2. I wish the CL-WiFi app would somehow remember my track names like the machine does. Sometimes I need to swap the name on track 1 with the name on track 3 for instance. If the track names were memorized in a list within the App, like they are on the 788 itself, this would make the app even more functional for quick name swapping rather than re-entering everything.

3. Finally, this is kind of a long shot, but a free app that was purely a timecode reader that read timecode from the Wi-Fi link on the 788 would be AWESOME for PA's and Scripty folks who want to keep track of timecode for a shot log. I say free because they could just download a limited app (similar to what Denecke or Ambient has) that would read the incoming WiFi timecode and then everyone on set could potentially have it on their phone for keeping track of timecode without being asked by the sound department to buy an app. This would be GREAT on reality shows where you may have 3 people doing different timecode note-taking. Besides, as I mentioned, Denecke and Ambient already have free apps, but they don't read incoming WiFi timecode from the CL-WiFi as far as I know.

Just some thoughts. Thanks!

-Matt

Not exactly the point of my thread there.