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  1. I’m on a stunts day so I have a chance to write between the explosions. Seems that NAB didn’t bring any announcements of new gear from Lectro. That got me thinking about my wish list of improvements to radio mic systems - regardless of manufacturer. When I started in this industry 30 years ago I used Micron VHF radio mics which were fixed frequency. Later models had three switchable frequencies. I became used to what we now call frequency agile wireless about fifteen years ago with the Audio Ltd 2020, later the 2040 range and now use Lectro. A lot of the equipment we use is tuneable over perhaps 30mHz but Wisycom now have a tuning range of 230mHz and new to the market Audio Wireless have a 120mHz tuning range. With multi camera we now use far more wireless and at crowded studio complexes or big events we cannot always stick to the blocks that we have in our kit so that we have to rent in alternative equipment – inconvenient and we loose the rental on the kit we own. I assume that what Wisycom and Audio Wireless have started will be picked up by other manufacturers. In particular, now that Lectro have tracking receiver modules and wide band Venue and Field frames, it seems to me that the next step is freeing receiver modules from individual blocks and like Wisycom designing wide band receivers and a similar tuning range on transmitters. I am not suggesting that this will be anything but a challenge for the RF engineers but for me, the user, a system that would tune from 520 to 640mHz (Audio Wireless tuning range) or even better from 470 to 700mHz (Wisycom tuning range) would be a really significant improvement. The Sound Devices Pix 260 has a Dante connection that inputs 24 channels of 24 bit audio via a single Cat 5 cable with minimal latency. I have no doubt that Dante - already adopted by many audio manufacturers http://www.audinate.com/index.php?option=com_content&view=article&id=343 - will be incorporated into new recorders from other manufacturers. As the track count increases, a system such as Dante frees up a lot of socket real estate on both the recorder and potentially the wireless receiver. So imagine a bigger receiver rack such as the Venue with Dante – Lectro have already made their own Dante boards and break out for the for their Aspen system - perhaps with space for 12 wide tuning range VRT receivers in a deeper 1U enclosure - able to tune across different blocks with one set of receiver modules and a single Cat5 connection to the recorder. That would be space saving both on the receiver and the recorder and money saving because you wouldn’t have to rent in alternative blocks if some or all of the kit you own is not usable in a particular location. It will come at a price just as VRT is more expensive than VRS but the versatility and convenience as well as the cost saving on rental would make it a very good incentive to upgrade. Is anyone like minded? Tim
  2. Check it out: http://hsmaker.com/harlemshake.asp?url=http%3A%2F%2Fwww.sounddevices.com%2Fproducts%2F
  3. Hello JW Sound Community! Join us on March 14th as Paul Isaacs, Principal Applications Engineer of Sound Devices, shows off the new PIX 260i. The PIX is a unique video recorder that is capable of 32 tracks of audio via analog, AES, SDI and HDMI, or Dante. The PIX also boasts simultaneous multi-media recording and full metadata capability. This recorder will melt your face off! You don't want to miss this! Follow the link to register today as seating is limited! Of course, there will be food. See you there! C. Z. Wittich & C. Allen Party Motivator & Fact Checker Gotham Sound & Communications, Inc. dante is the future
  4. Yesterday I experienced a funny issue with an externally powered 788T. The power source was, apparently, somewhat less reliable and dropped out a few times. Normally the 788T should switch to the "internal" (back side) battery, but it didn't. Instead it just went OFF without saving. Anybody else experienced this?
  5. Are folks comfortable backing up one source or temporarily archiving both CF and SD data? I have been using approved media (Delkin and SanDisk). I hand off files from either SD or CF depending on DIT setup, producers laptop config, etc. I have had no trouble with files from either the SD or CF card however there are still some stories floating around about people having trouble even with approved media <sic>. Years ago, in the early 7 series days, I would backup/archive from BOTH the IHD and CF until I felt comfortable enough to only backup from one source. Files would linger on the IHD for a time as well. For now I archive all 664 files from both sources and note which source was the deliverable. After sufficient time, I delete the redundant files from the non delivered source to reclaim space. Glen
  6. I did some location audio many years ago but have spent most of my career in post. Some of my clients, unhappy with their location audio talked me into getting back in. I'm having fun. I have a bag with an SD302, Lectro UM400 & LMA feeding a Lectro SRa, Comtek 216s. I'm building a bag cart and anticipate 95% of my time will be sitting at the cart. Most of my output goes to a DSLR. I thought I'd upgrade a little and am looking at a 664 vs Nomad 10. If I purchase the Nomad it will be because of size (for the bag) and the network. It looks like a compact, efficient system. Zaxnet is attractive but I don't to want buy new reliability problems. So, I would appreciate any comments on general reliability of the Sound Devices vs. Zaxcom mixer/recorders and Zaxcom vs. Lectrosonics wireless systems. Interested in quick comments as to failure rates and performance on the job. Thanks!
  7. Hello All, I was wondering who among you is using the Sound Devices CL-9. I am thinking of purchasing one and wanted to know what your experience has been in the field. Functionality, things you like, things you don't. If possible, let me know why you like it more than a field mixer and why or why not. I am torn as to whether or not to go with the CL-9 option (due to cost and keeping my full 8 track count) or if a dedicated mixer (Sonosax, used Cooper, Solice) would be a better way to go and why. One thing that seems like a hang up to me is the fact that you have to select a channel, then the EQ, then EQ it as opposed to just about any other mixer out there where you just reach for the knob and turn it. Much simpler and quicker. Since I don't have much experience with episodic work, I'm wondering if folks who work in television could express their opinions as well. Seems like most of the photos I see, the mixer is a Cooper or a Solice. Is this just because you already paid it off or is it the better way to go for some reason I am unaware of? I have also heard that the com routing on the CL-9 is a little weird. Any thoughts on this? Before I get blasted with a lot of "read the manual" responses, what I am looking for here is constructive input from mixers actually using the CL-9 in the field and some insight into how well it performs in real world situations. Thanks! -Matt Hamilton
  8. Has the Sound Devices 722 become an example if Generic AV equipment? I recently bought a cheap Generic USB to MIDI cable for my laptop on the internet. The cable / adaptor didn't seem to have any manufacturer name on it and is obviously made in China. What was interesting was the instruction "manual" which was a single small sheet of paper shown below. It seems to show the cable hooking up to a SD 722 recorder. But there are no 5 pin DIN Midi Inputs on an SD722 Recorder. Curios choice for an example of MIDI enabled equipment.
  9. Hello All This primarily concerns UK based recordists (or others on channel 38, 606.5-613.500MHz) just had a fascinating chat with Kish Patel, MD of Audio Ltd, who's radio mics many (most?) of us use. He tells me that Audio Ltd found that the Sound Devices 788T emits RF, via input and output cables, which cause interference with (and decreased range to) our 2040 radio kit, and for that matter any other radio mics tuned to certain frequencies. The precise physics I'll leave to him to explain, but suffice it to say, they have produced the following list of frequencies which the SD788T emits in CH38/39/40. Simply put, our audio is at higher risk to 'hits' on channel 9 and increased (but lower) risk on channels 3 and 5 of our packs as they are too close to interference. Channels 14 and 26 are also affected, but these are in the CH39/40 range. Emissions from 788T in the CH38 region. L 611.0 H 614.4 L 608.3 L 604.5 H 602.1 H 617.4 H 626.7 (L = low level, H = High level) Not sure if everyone else was aware of this or whether or not it was already common knowledge - but it certainly is news to me and a few of my colleagues. It would appear there is now even less choice in already congested airwaves in UK. Anyone from Sound Devices care to comment? Hope all healthy and busy Stateside - good luck at the polls tomorrow (whichever camp you're in!) S
  10. Could someone please advise on the correct procedure to set my 552 to reference -18dB at 0 on 552 meters. I'm find Sven a tad difficult in doing this in practice. thanks M
  11. Here is a bit of self promotion but it is a good read. Will post the link to full documentary soon http://blog.mixonline.com/briefingroom/2012/08/09/sound-devices-788t-gives-gold-medal-worthy-performance-for-summer-games-documentary/
  12. Hello Everyone! As you may have heard, we are hosting the hottest event on the East Coast tomorrow, Wednesday the 3rd, at Gotham Sound and Communications. I know all of you are just IN AGONY at the idea of missing this event due to work schedules, geography, and universe conspiracies. I'd like to take this opportunity (thank you, JW) for you all to post your BURNING questions to SD and I will gladly get them answered for you. Thanks a lot! Christina Z Wittich Sales Manager Extraordinaire
  13. The video of last week's 664 presentation with Jon Tatooles is now available to view online. In two 45-minute parts, Jon gives us an in-depth look at the hardware and user interface of this powerful new tool, and takes questions from our audience. Part 1 Part 2 Enjoy! -Cory
  14. I have a 702T that I am interfacing with a PSC alpha mix. When I output line level from the mixer into the 702 (with the 702 set to line as well, naturally) I have very little lower adjustment. So, setting the 702 at -20 puts me at just above 0 on the pots on the 702. If I turn the pots all the way down it only brings the signal down to about -25 on the recorder. Now, if I change the mixer/recorder output/input to mic level I have lots of bottom and top and have to attenuate the pots up quite considerably to get to -20. When I record in line/line my recording are, to my mind too thin. When I record in mic/mic the recordings (and the waverforms) are nice and fat. Weird, as I have always used line when interfacing with cameras. I suspect that I am doing something wrong in the set up of the 702 but do not know what it is. Any ideas? Thanks.
  15. 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
  16. hi, i'm going to contact sound devices on monday, but i just wanted to find out from you guys about the problem with using rechargeable AA's in the mixpre with the tube being too narrow and/or the end cap not picking up power. i've read posts where the batteries get stuck inside & the cap connector not making proper contact. i've also read that people sent them into sound devices to get modified at a cost of 80 to 100$. do the newer manufactured ones (just before the release of the mixpre-d) have those problems fixed or not? i wonder if at a certain serial number this problem was rectified by sound devices. i would appreciate if anyone who can shed a light. i'm trying to find a used model and would like to know if i need to search for a particular serial or date of manufacture. cheers, P.
  17. I've been wondering about a few things. First, I've found that when using my 302 with a Rode NTG-3, a Sanken CS3e and Oktava and Schoeps hypercardioids it seems that in most cases (quiet to medium volume interview speech, for instance) I have to set the gain pot on the 302 around three-o'clock to get levels like 0-+12 on the mixer. More or less depending on the mic in question. Is this what one might expect? I assume it probably is, since I would think the possibility of having a defective mixer are fairly low. Second, I wonder if someone knew about the best gain staging when going from 302 to a Sony PMW-EX1 via two Sennheiser G3's. I've found that when setting the G3 Tx's to -42 dB sensitivity and having the EX1 inputs as line levels, you have to crank the EX1 gain pots all the way up AND set the G3 Rx's to max output to get the levels even somewhat matching. I'm wondering if it might be better or worse to try setting the EX1 inputs on mic level and first turn down the camera inputs, then Rx output (if needed) to get to matching levels. The production we're working on is a busy, low budget reality show in noisy places and the DP and I live in different cities so no time to play around and try out for best results so I was wondering if someone had any experience on this particular camera and its audio quirks. Thanks!
  18. Hello all. New user here, first post. I'm very much looking forward to becoming a contributing member of JWsoundgroup. Before I begin, I'd like to say that I'm aware you all don't like re-posts, so please know that I did in fact search this site for the update I'm listing and wasn't able to find any information on it. I apologize if my search queries missed a previous post on this topic. I wanted to start by posting a piece of information for Sound Devices 552 users. In short, they've released a firmware update for the 552 (Version 1.4, released Nov. 3, 2011) which is available here. That's the gist of it. The long version is that I had a month-long issue with my 552 not recording properly to the on-board digital recorder. Symptoms were as follows: The 552 would fail to power on. When switched to internal power it would light the Return A/B lights, which would hold steady and no other lights would function. The unit would simply lock up an. This was with the unit being powered internally by Sanyo Eneloop rechargeable batteries. When the 552 would power on, it would function properly up until I attempted to put the unit into Record mode, at which point the record light would lock orange without the tone that the 552 usually gives you, and all unit functionality would instantly stop. No more metering, recording, or operation of any kind after the lockup. Required forced power-down and startup to 'resolve' issue. As a note to the issue above, at one point, the 552 locked up per #2 above, and then failed to record audio after power up, even though it functioned as it should on the surface, meaning record tones and stop record multi-tones were working, SVEN was working, metering worked, the whole nine yards... except that audio playback of the files when dumped at the end of the day was corrupt, and the files would not play on any device (Logic Pro 9, iTunes, Mac file preview, etc.). All programs marked the files as corrupt, and they were not recoverable. As a note, the outputs of the mixer functioned fine even during this occurrence. This is why we record backups, right? So what did I do? First I called SD, and then wound up going through 4 different SD cards of varying sizes and speeds (and of 3 different makes just to be sure) two SD 552s and two firmware updates (one on each of the brand new 552s). All this after taking every tip/trick in the book from SD technical support. I spoke to Sound Devices technical support not less than 5 times, and on my final contact with them, their engineering department asked for my 552 in person so they could run diagnostics on the unit. I sent it back to SD in late October and received it back in early November, 2011. They sent my unit back with a note saying they replaced a part on the circuit board inside the unit that attached to the power switch, but as nice as they were, I'm not entirely convinced that they didn't just list that as a way to keep me quite a short while. Who knows, but really I don't care, I just want this box to work, and work reliably for a long time. What have I learned since then, and what might help you avoid these issues, you ask? The numbers below correspond to the first list above: I later learned that the 552 does not like rechargable batteries, even good ones. I now only use Duracel ProCells or standard 1.5v Duracel CopperTops when I run out of ProCells. This has almost entirely solved the power-on issue, but the unit has still failed to power on twice since it was returned to me. For those of you using external power/BDS, this of course won't apply. SD has issued a firmware update that reads, "fix - Improved transport control preventing semi-lockup conditions with some SD cards." Thank you Sound Devices (no sarcasm whatsoever). This also tells me that it wasn't my two separate 552s, and it wasn't any of my SD cards that were the issue, and it wasn't the part they fixed on my 552 circuit board, it was the firmware. Captain Obvious here, "Always record a backup." And, if you're recording stereo to the 552 ever, check your file integrity every now and then by replaying a file. Just as a precaution. I'd also like to be clear that my goal is not in any way to simply complain. My goal is to help inform 552 users that these were real world issues that happened to another sound mixer, and if they want to avoid them, they should consider updating their firmware at their own risk. Now this update seems to have worked so far for me. I just finished a 4-day shoot after the update, and so far not a single lock-up (knock on wood!). Everything smooth as it should go, except one power-up failure in 25 degree exterior weather with 20mph wind (fun times, fun times). I'll also say that SD technical support was as helpful as they could have been, considering my issue required a software update, and Linda at SD didn't charge me for the loaner 552 they provided me with to use while mine was being diagnosed as is their standard practice. They were also very easy to get hold of, very nice, and were all very understanding about my 552 issues. So again, no bashing just to bash, just information for 552 users. Happy updating. P.S. If your firmware ever fails to update, and SVEN doesn't recognize the new firmware on the root of your SD card, please use the following method given to my directly by SD: Insert the SD with the new firmware file in the root of the card (not a folder). Leave the unit powered OFF. Hold down the headphone volume button (press it down, as if you are entering 'Zoom' mode). While continuing to press the headphone volume button down, power the mixer ON and keep holding the button until you hear SVEN. This will force the 552 to search your SD card for new firmware.
  19. Hey Guys, I'm looking for the best way to do a headphone send from a 702, so the director can monitor as well. At the moment I'm thinking of taking a send from either the TA3 Master Out (using just L or R channel) or the Tape Out (not sure which would be better) to a Lectro LMa. This would then transmit to a Lectro R1a which the director would have his cans plugged into. Is this the best way to go about it? Would this even work? Do you have a better way I can do this? Any help is much appreciated! Cheers, Jo
  20. Hey guys, I was talking to this production coordinator I'm doing 2nd unit with and he mentioned that the production wanted me to switch to zaxcom wireless. There reasoning is so they can run off and still have good tracks. I've used the whole zax system before (fusion, IFB, & wireless) and it worked for the most part. I wanted to know if I used my 744 instead of a zaxcom recorder would the zaxcom IFB still send the commands to record and stop recording to the zaxcom transceivers? Has anyone tried this? Keenan
  21. Hey All, Just posted the next entry in my blog series, recounting my travels through Nepal and India making location recordings. This entry you'll find me in the holy Indian city of Varanasi, recording a family trio on sitar, tabla and violin. If you're into eastern music be sure to check this out. http://soundrelated.com/a-night-in-varanasi-with-dr-mishra/ Comments and feedback always welcome too. Enjoy! Jo
  22. Hey Everybody, It's been a while between posts but finally here is the latest instalment of my blog. http://soundrelated.com/the-rajasthan-desert-session-2/ Here you'll find me in the deserts of Rajasthan, India, recording some amazing Manganiyar musicians. As always the recordings are included (three this time) and there are some amazing photos to go with it. This was one of the best days of my life so hopefully I've captured some of the joy I experienced and can now share it with you. Enjoy! Jo
  23. I want to upgrade g3 to LMa R1a combo. I have difficult time finding info on 3.5 to TA5 cable. I would have contacted Lectro and/or Sound Devices, but believe this is a question to an end user.
  24. Hey all, First post here. Been lurking for awhile and it's a great forum to be sure! I have a quick question. Tomorrow I have a fairly simple gig (yeah I really shouldn't think like that), one actor in front of a green screen. Boom + lav through my 302 to an EX1. I was just wondering if anyone was familiar with the EX1 audio features, does it have a numbered audio meter on the screen so I could calibrate it easily? Or does it simply have those blocks of which you have to know which level is each block? If so, might someone have any info on how it goes? edit: I did look at the PDF manual for the EX1 but either wasn't looking hard enough or didn't find what I was looking for. Cheers! -Karri
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