SD 442-to-SD 744T help

[JAppleton]

Hello all,

This is my first post and I have been researching online to figure this out and have not been able to get a hold of various sound mixers I know to talk about it with them either, so I'm coming to you fine folks.

I'm doing my first Sound-only gig for a student film starting tomorrow. I own a SD 442 mixer and they have rented a SD 744T recorder. However, they were not able to get a breakaway cable I mentioned to get (I said to get a dual-XLR male one end female on the other). I thought this is what I should be using, and please tell me if I'm wrong and there is a better, more efficient, or more accurate way to run the mixer to recorder. I'm new at this and learning as I go via forums, product manuals, etc.

I am wondering if two separate XLR cables run the same way out of the mixer into the recorder will give me the same outcome and work appropriately. I unfortunately will not be able to get the recorder and play around until we get on set tomorrow night (but I have been reading through the manual online).

We're shooting on the RED Epic so if there is anything you feel you'd know about the correct sample rate, bit rate, and recording settings for this job I'd be thrilled to hear your thoughts.

Any input is greatly appreciated. Thanks so much!

[aristotle_kumpis]

I guess it depends on what you are trying to do. If you are just trying to record a master out of the 442, then all you will need is 2 XLR cables. But if you want to record each channel separately, then you'll need 4 cables that run from the direct outputs of the 442, into the 744t.

[studiomprd]

Hi, and welcome.

Break-a-leg!

[MatthewFreedAudio]

Jappleton, where are you located? Are you in the LA area?

[studiomprd]

" unfortunately will not be able to get the recorder and play around until we get on set tomorrow night "

That is very bad...verrrrry bad

Is the same true for the camera folks and the RED ??

[MatthewFreedAudio]

Yes, it is very bad news both for the production and for JAppleton. I have a strong feeling there will be a long delay in shooting tomorrow night and that settings won't be correct for the audio.

[studiomprd]

Another excellent lesson in how not to make a movie, and of course <Tiger>

[Mark Orusa]

If you want to record all four channels from the 442 to the 744t you'll need two TA3F to TA3F cables for inputs 3&4 on the 744t. I usually run just the boom channel out of the 442 Master Left XLR into the 744t Ch1 so I can record my mix level adjustments. The remaining 3 channels are 442 pre-fade out (TA3F) to the 744t Ch 2-4 (XLR, TA3F, TA3F).

Since you don't have a cable to feed the RED, just use a slate and go entirely second system sound (meaning the sound is recorded independently of picture).

Good luck,

Mark O.

[JAppleton]

Matthew, I'm located in New York.

Thanks everyone for the input it has been extremely helpful. I have been working in Grip/Electric for the past few years and have been transitioning to Sound and began buying equipment and working/learning as I go. I understand it isn't the best way to work, but it unfortunately are how the cards played this time around. It's a student's senior film, so we will do what we can with it all. Thanks everyone!

[Marc Wielage]

Mark above has it right -- you need a bunch of TA3 -> XLR adapters to make isos work. If you're in NYC, you can rent these very inexpensively from Gotham Sound (212-629-9430), Audio Services Co. (212-977-5151), or Professional Sound Services (800-883-1033). There are multiple outputs from the 442, including a "tape out" mini-jack, TA3 direct outs, and full-size XLR outs, so you can use a combination of whatever's available to feed the Red if you want. Or you could feed the Red from the output of the 744t recorder, which also has a variety of different outputs.

If you haven't used the 744t recorder before, my advice would be to sit down with it for an entire afternoon and go through every page of the manual and check every single menu setting, input, and output connector. Make sure you know the routing and headphone monitor settings, which are critical.

Standard settings for recording sound to Red are 23.98 timecode, 24-bits, 48kHz, assuming they're shooting at 23.98fps. Very important: do a workflow test by shooting about a 5 minute segment with picture and sound, clap the slate at the head and the tail, and make sure they line-up correctly in editing. If the second clap drifts, something is wrong. Note that if you intend to have the Red camera's timecode match that of the 744t, you'll need a correct Lemo TC adapter cable to make this work. Also, the Red Epic has a non-standard 1/8" TSR audio input, but adapter cables are out there if you look for them. (The Red Epic I/O module is still not available, to my knowledge.)

--Marc W.

[JAppleton]

Thanks Marc. Very informative as well and I will be sure to take your advice with the workflow test on set and thanks for the settings you suggested to use. Ive been reading through the 744T manual today and printed it out to reference while on set. Fortunately, as I mentioned it's a student film so it will be more laid back than a typical shoot and I expect to be able to set up the recorder to how it needs to be.

[studiomprd]

let us know what happens!

Happy Holidays...

[JAppleton]

Well everything went very smoothly and I'm happy to report the sound came out excellent. Since I read through the 744T's manual front-to-back twice before getting to set I was able to hit the ground running with getting the recorder all set-up to what I needed and it worked out well. Thanks everyone so much for taking the time to help out a "newbie" and giving me your advice/input. Learned a lot!

[MatthewFreedAudio]

Glad to hear it went smoothly on set!