We have long been in the era of “one man band” media production. Outside of major digital cinema or documentary productions, most video and sound today are recorded with a minimal crew and budget. That often means only one person.

This used to be a nearly impossible task—fraught with simple mistakes that could endanger the entire production. Now, recording high-quality audio in the field is more foolproof than ever thanks to a new technology first introduced in 2019. 

Groundbreaking Tech
Over the past year, this groundbreaking technology has quickly caught on and now appears in a range of very low-cost, professional audio recorders. Called “32-bit float audio recording,” it allows the recording of sound without the user having to set gain levels. 

Do not confuse 32-bit float recording with the old “auto gain” setting found on most traditional audio recorders. The artifacts produced by auto gain were never acceptable for professional-quality sound.

Today, the company with the most 32-bit float recorder models is Zoom, followed by Sound Devices and Tascam. Most video editing software and digital audio workstations can now play back 32-bit float audio. The cost and quality of the equipment has hit new levels in the past few months. 

What’s so special about 32-bit float recording? Clipped recordings over zero dBFS can be fully recovered without distortion. With conventional 16- and 24-bit audio recording, this was not possible. With 16- and 24-bit recording, if the audio level peaked above zero dBFS, it was permanently distorted. That’s because these digital formats lack the ability to record any data over this threshold.

With 32-bit float recording, the system can record audio data +770 dB above zero dBFS and –758 dB below. This is a dynamic range at an astounding 1,528 dB. 

It is hard to grasp this range since the loudness difference between the quietist anechoic chamber to the loudest sound possible is only 185 dB. With 32-bit float, clipping is now impossible.

The Good with the Bad
Of course, as with all new technology, there are some negatives to using and depending on 32-bit float audio. First of all, the recorded files are about a third larger than standard 24-bit files. The user will need larger size flash cards for audio storage.

If distortion creeps in before the recording begins, 32-bit float won’t help save the session. Common problems are an overloaded mic capsule, power line hum or overload from wind. 

Even when using 32-bit float, sound operators still need to do correct mic placement, use the right mic mounting gear and employ good wind-protection practices when working in the field. It is always important to check that the signal being recorded is problem-free before hitting record.

The most important change with 32-bit float is that operators don’t have to set or worry about sound levels during recording. This is an advance that removes a key task for overworked one-person sound recordists. It frees the mind to concentrate on other things during the production.

Even with 32-bit float, production workflows including editing, mixing and distribution continue to use a 24-bit workflow. This means some data will be lost at some point in the chain. An audio engineer will need to make adjustments to ensure that the audio signal doesn’t get clipped when downsampling to 24-bit.

At this point, there is a choice: Either set levels properly on set and record directly in 24-bit, or record in 32-bit float and add the extra step later. It’s part of the process that is essential. But it’s always easier to fix level problems in post than having them on location.

Product Introductions
Just before Christmas, 2022, Zoom introduced a series of 32-bit float recorders that sets a new standard for quality, features and price. Called the M-Series and starting at $199, these new recorders come in handheld and shotgun styles. 

Most interesting is the new Zoom M4 MicTrak ($399), a new handheld microphone-shaped recorder. It features 32-bit float recording; 192 kHz sample rate; simultaneous recording of up to four discrete channels; two ultra-low noise pro-quality XLR preamps; and an internal timecode generator.

Journalists can easily use this new recorder for handheld interviews. Just turn it on and hit record. No need to set levels. The color on-screen display shows a waveform to confirm recording. The reporter can concentrate on the content of the interview, rather than on the equipment.

When four mic channels are needed, two pro mics can be plugged into the XLR jacks on the side of the M4. It also takes 3.5mm input mics and has an internal timecode generator with an in/out jack. The timecode oscillator offers accurate code with a discrepancy of less than 0.5 frames per 24 hours. 

Another major advance is the new recorder’s super-quiet preamps, which are taken from Zoom’s high-end F-series recorders. The preamps have a self-noise rating of -127 dBu. This is a level of recording technology unheard of even a few years ago.

Also recently introduced was Tascam’s Portacapture X8 recorder ($389.99) and Zoom’s F2 Portable Field Recorder ($229.99), both with 32-bit float recording. These join Zoom’s existing F-series models and Sound Devices MixPre II series, beginning at $895.

Though 32-bit float recording does not solve all recording problems, it’s a major step forward for recordists working solo in the field. Just as with lighting, good sound recording demands a complex set of choices that used to be a dedicated job in itself. 

Poor sound has traditionally been the biggest killer on low-budget, independent video productions. Until recently, audio could not be recorded so easily and reliably by solo operators. That has now changed, thanks to 32-bit float audio. 

REEDSBURG, Wisc.—Sound Devices has introduced A20-Nexus Astral Series wireless receiver with SpectraBand technology, which supports a tuning range of 470 MHz to 1525 MHz and exceptional RF filtering, the company said this week.

The compact digital wireless receiver is designed for use as the hub of the Astral wireless range, which includes the A20-Mini and A20-RX, the company said.

The true diversity A20-Nexus digital receiver offers a wide tuning range, 8-channel support (with 12- and 16-channel support available via software with an additional license) and NexLink integrated long distance remote control, it said.

NexLink enables long-distance control of transmitters as well as Real Time Spectrum Analysis (RTSA). The A20-Nexus can be controlled with a mobile phone or tablet using a web app. The unit also supports Power over Ethernet (PoE) and Dante, the company said.

Among its features are GainForward to eliminate the need for adjusting transmitter gain and easy docking to any Sound Devices 8-series mixer-recorder via the A20-QuickDock, it said.

“The Astral Series is the culmination of years of research and development in wireless technology to design robust, versatile solutions for mobile RF professionals that can be used around the world,” said Sound Devices CEO Matt Anderson. “With A20-Nexus, we sought to not only provide the ultimate portable receiver for our customers in film and television production, but also the Astral Series to meet the rapidly growing needs for wireless in live event production, musical theater, corporate AV, houses of worship and more.”

Sound Devices is shipping the A20-Nexus, which has a manufacturer’s suggested retail price of $14,495.

More information is available on the company’s website.

REEDSBURG, Wisc.—Sound Devices has started shipping the A20-RX, a two channel, true diversity receiver with SpectraBand technology. 

SpectraBand gives the A20-RX receiver and A20-Mini transmitter an unprecedented tuning range of 470 MHz to 1525 MHz, the company said. 

The A20-RX also features high-discrimination front end filtering for better performance in noisy RF environments and Frequency AutoAssign for faster setup. The receiver is compatible with both A20-Mini and A10-TX transmitters, Sound Devices reported. 

Sound professionals with the previous model, A10-RX, can upgrade the hardware of their receivers to the A20-RX for $995 USD or for a reduced price of $750 if they purchased their A10-RX within the last 12 months or an A20-Mini since June 1st. The upgrade program lasts until the end of 2022.

“As wireless spectrum becomes increasingly crowded, sound professionals need flexibility when it comes to tuning range. The A20-RX is the first receiver on the market that can tune not only in common UHF TV bands around 470 – 608 MHz, but far above that,” said Gary Trenda, RF applications engineer at Sound Devices. “We’re excited to offer the A20-RX and an upgrade path for our A10-RX customers.” 

The company noted that SpectraBand eliminates the need for purchasing different wireless receivers dedicated to specific frequency bands, covering approximately 285 MHz of available spectrum in the United States and 383 MHz in the United Kingdom. 

In the U.S., the A20-RX can tune to the 600 MHz guard band (614-616 MHz), 600 MHz duplex gap (653-663 MHz), 900 MHz ISM Band (902-928MHz), 900 MHz STL Band (941.5-960 MHz), and, with the appropriate license, the 1.5 GHz AFTRCC band (1435-1525 MHz). This is in addition to the core USA UHF TV band from 470-608 MHz that’s commonly available. Overall, this totals approximately 285 MHz of available spectrum. 

In the UK, the A20-RX can tune to the 800 MHz duplex gap (823-832 MHz), 800 MHz guard band (863-865 MHz), and, with a proper license, the DME and 1.5 GHz bands (961-1015 MHz, 1045-1075 MHz, 1105-1154 MHz, 1518-1525 MHz). This is in addition to the core UK UHF TV band from 470-702 MHz that’s commonly available. Overall, this totals approximately 383 MHz.

The A20-RX is the second product in Sound Devices’ first wireless product line. The first product, the A20-Mini transmitter, is receiving a free firmware upgrade to enable SpectraBand when used with the A20-RX. The A20-RX is also compatible with all tuning ranges of the full-size A10-TX and is SuperSlot compatible with an SL-2 SuperSlot Wireless Module and 8-Series mixer-recorder.

Two other notable features of the A20-RX are its front-end filtering and Frequency AutoAssign. 

While tracking filters are common in wireless receivers, the A20-RX uses superior low-loss, brick-wall SAW filters to deliver excellent performance in noisy RF environments. These built-in filters also provide excellent immunity from nearby IFB or camera hop transmitters without the need for external filters or extra cabling. 

The AutoAssign feature scans a user-designated tuning band and selects available frequencies for the A20-RX's two channels. This feature is designed to make frequency selection and setting quick and easy. 

The release of the A20-RX coincides with supporting firmware for the A20-Mini, A10-TX, 8-Series, SD-Utility and A20-Remote.

To download supporting firmware, visit www.sounddevices.com/download

The A10-RX may be converted to the A20-RX by sending the unit to Sound Devices for a hardware upgrade.

To learn more about the A20-RX, visit www.sounddevices.com/product/a20-rx

CHESSINGTON, U.K.—Audiotonix today announced the acquisition of U.S.-based Sound Devices. Financial details of the transaction were not immediately available. 

The purchase expands Audiotonix’ group of audio brands, which includes Allen & Heath, Calrec, DiGiCo, DiGiGrid, Group One Limited, KLANG:technologies and Solid State Logic. 

“The addition of Sound Devices and their fantastic team to our portfolio of premium audio brands is a proud moment for all involved,” said Audiotonix CEO James Gordon.

“Their expertise and technical pedigree in film production, broadcasting and professional recording is a great fit," Gordon continued. "As with previous acquisitions, we always look to increase the knowledge share group-wide, and with FPGA-based solutions and RF wireless technology at their core, we have an enviable opportunity."

Sound Devices co-founder Jon Tatooles is leaving the company after more than two decades. Matt Anderson, co-founder, chief engineer and CEO of the company since 2013 will continue to serve in both roles.

“It has been incredible to build Sound Devices over the last 23 years into the organization it is today. I am very excited about the next chapter for the company, and I leave it in great hands,” said Tatooles.

Sound Devices is a good fit for Audiotonix in regards to values and culture, said Anderson. 

“In a way, it will be business as usual at Sound Devices, as we will carry on doing the same thing we've been doing for the past 23 years: focusing intensely on making the best sound products we can," Anderson added. "However, the Audiotonix group brings us more strength in terms of access to capital, depth in manufacturing, knowledge in engineering, sourcing of parts and expanding our sales and marketing expertise."

More information is available on the company’s website.

REEDSBURG, Wis.—Sound Devices has debuted the NoiseAssist noise suppression plugin for the MixPre II Series recorders, as well as a firmware update to its MixPre v7.00.

NoiseAssist is an optional, one-instance plugin with an advanced signal processing algorithm to reduce background noise. The plugin has a simple user interface that calls for a single adjustment: the amount of background noise to suppress. One instance of NoiseAssist can be run on any channel, bus L or bus R.

Firmware v7.00 is required to run NoiseAssist, but the upgraded firmware has other new features as well. This includes output delays for MixPre-3 II and MixPre-6 II units (400 ms of output delays). Output delay now also applies to USB outputs for MixPre-3 II, MixPre-6 II, MixPre-10 II and MixPre-10T. The addition of output delay allows for sound and picture to be more easily synced during live streaming applications, according to Sound Devices.

Other new features for the v7.00 include more sample ratio options for MixAssist plugin and support for P.I. Engineering’s X-keys Programmable Keypads, Sticks & Keyboards.

For more information, visit www.sounddevices.com.  

Petaluma, Calif. — Point Source Audio (PSA) announced that it has appointed China’s EAD and South Korea’s Capstone Pro to be distribution partners for its SERIES8 and EMBRACE™ microphones as well as its CM-i series of patented in-ear headsets. The appointments come on the back of an expansion effort in response to increased sales and product awareness outside of the USA for Point Source Audio. These partnerships further expand the company’s worldwide reach, which now includes international partners in the United Kingdom, Australia, Japan Italy, Norway, Finland and France, among others.

“We’re excited to be working with both Capstone Pro and EAD,” said James Lamb, President of Point Source Audio. “The creative community in these regions is massive and our products fit their needs. Our goal is to continuously improve our customers’ experience around the world in every aspect and we are confident that our new partners will help achieve that.”

Integral to achieving this growth trajectory in the Asia Pacific region is also the appointment of AS Audio APAC Pte. Ltd. as the manufacturer’s representative in the territory. Based in Singapore, the company, led by Alex Schloesser, will support the Asia Pacific business and develop its distribution network. AS Audio will also handle all technical and sales support for Point Source Audio throughout the APAC region.

Schloesser comments, “Developing and growing the PSA business is a rewarding and enjoyable task. Wherever we take the products, they shine and stand their ground with the competition. I very much look forward to be taking PSA into APAC.”

Point Source Audio is a manufacturer of specialty sub-miniature body-worn style microphones and patented lavalier mounting systems specifically designed for theatre applications. The company creates value-added solutions through intelligent designs, driven by market demand — examples include their IP 57 rated waterproof models and unique headsets which retain the position of the microphone capsule regardless of performer activity.

About EAD
Established in 1997, Guangzhou Donghui Digital Technology Development Co, Ltd is a professional audio and video integrator and distribution company. The company is headquartered in Hong Kong with branches in Guangzhou and Beijing. For more information, visit their website at www.ead.cn.

About Capstone Pro
CAPSTONE PRO, led by founders Kevin Kim and Jesse Park, both veterans of the professional audio industry, was established in 2018. The company distributes pro audio brands including Point Source Audio throughout Korea. For more information visit their website at www.capstonepro.co.kr.

About Point Source Audio
Point Source Audio (@PSA_audio) manufactures and distributes worldwide their SERIES8, EMBRACE, and CONFIDENCE collection of miniature microphones—a unique line of headset, earworn and earmounted microphones known for their robust bendable boom and waterproof features. The company also holds two patents for the EMBRACE concealable microphone as well as the patent for the world’s first modular in-ear comms headset that is supporting the hearing health for audio, lighting and camera techs using headsets everywhere from sports to space. Founded in 2004, Point Source Audio is headquartered in Petaluma, Calif. For more information call (415) 226-1122 or visit www.point-sourceaudio.com. Follow the company on Twitter at www.twitter.com/PSA_audio.

Timecode vs. Genlock: Why timecode may not be enough to keep your set in sync

By Henri Rapp

The common assumption is that by feeding timecode to camera you will keep camera and sound in sync. Unfortunately this is not so, Timecode and Sync are not the same thing. Timecode is in fact only metadata to identify how the first frame is labeled for time when the camera begins rolling. Once a camera starts recording, it ignores external timecode and uses its own internal clock to record. The problem you get here is the camera clock is not calibrated to the external sound recorder’s clock, and slowly they will drift apart as you continue to record. This is especially problematic for productions that require a long roll time (30 minutes plus), such as Reality TV or Event Coverage. This can cause endless headaches in post when you match the audio and video with timecode, and by the end of the clip the video is noticeably out of sync with the audio. The solution here is Genlock.

What is Genlock?

Genlock originated in the early days of broadcast and video switching systems. Genlock was used to keep cameras, and other video sources’ frames in sync to avoid nasty artifacts introduced when switching from one source to another. These days most switchers can compensate for this rather than feeding black burst to every source from a central clock. In the HD world Genlock is still hanging around, but these days it uses a protocol called Tri-Level Sync to clock both the frame rate and line rate. This is especially important for 3D two camera rigs. Because Genlock clocks the capturing of frames on a camera, it can be used to keep the picture from drifting from the audio over time.

Keeping Set in Sync with Timecode, Genlock, & Word Clock

In order to keep every device in sync, you need to have everything clocked by one central master clock. The cameras need to be fed timecode and genlock, and the audio recorder needs timecode and word clock. I decided for my rig to use Timecode Systems :Wave Master Clock. This acts as a generator for Word Clock & Genlock and is slaved to my Sound Devices 664 for Timecode. With an additional 9 pin Lemo to USB data cable, I am able to control metadata, arm and disarm tracks, start and stop recording, and more on my Sound Devices recorder. The Timecode Systems UltraSync Ones get rejammed twice per second via 865 MHz to 923 MHz Worldwide ISM bands. Each camera gets an UltraSync One that outputs timecode and genlock keeping the camera perfectly in sync with everything else on set.

Common Cameras That Can Be Genlocked

Here is a few examples of commonly used cameras that can be Genlocked (Some, like the FS7 for example, require additional accessories to take Genlock and Timecode):

Arri: Arri Amira, Arri Alexa, Arri Alexa Mini

RED Digital Cinema: Red Weapon, Red Epic, Red Scarlet, & Red Raven

Sony: Sony FS7, Sony F5, Sony F55, & Sony F65

Canon: Canon C700, Canon C500, Canon C300 Mark II, & Canon C300 Mark I

Panasonic: Panasonic HPX-2000, Panasonic HPX-250, Panasonic P2HD, Panasonic Varicam 35

About The Author:

Henri Rapp is a Location Sound Recordist & Recording Studio Engineer in Cleveland, Ohio. When not out in the field I also do audio post-production for video and produce music out of Bad Racket Recording Studio in Cleveland.

REEDSBURG, WIS. & WATFORD, ENGLAND—Audio Limited will now fall under the banner of Sound Devices, LLC., as Sound Devices has announced the acquisition, making Audio Limited a wholly-owned subsidiary.

Audio Limited is a U.K.-based manufacturer of radio microphone systems for film and television. After the acquisition, Audio Limited will continue to operate out of its Watford, England offices, including the design and engineering of RF products. Kishore Patel and Lee Stone will continue as managing and technical director, respectively.

Beginning in February 2018, Sound Devices will distribute Audio Limited’s A10 Digital Wireless microphone in North America. Audio Limited began distributing Sound Devices products in the U.K. in January 2018.

VATICAN CITY—Sound Devices is now the preferred audio manufacturer for the pontiff, the company announced via a press release. The Vatican Television Center, the official broadcaster of Vatican City, recently acquired Sound Devices’ 12-input 688 field production mixer with 16-track recorder and its SL-6 accessory.

The Sound Devices gear offers wireless capabilities and ability to control VTC’s Lectrosonics SRc two-channel wireless receivers to help film and archive the speeches and activities of Pope Franics. As a special feature for the pope, Sound Devices made “all-white” versions of the 688 and SL-6 rather than the traditionally black models.

The 688 features eight assignable outputs for routing flexibility and 16 tracks of recording of polyphonic and monophonic broadcast WAV and MP3 files to SD and CompactFlash cards. With the addition of the SL-6, users can power three dual-channel slot-in receivers, streamline wireless antenna distribution and power peripheral devices.

VTC is using the 688 and SL-6 combination with SRc receivers as a mobile recorder, while a second 688 is being used in audio production for VTC and Radio Vaticana.

LOS ANGELES—As a sound supervisor, I have spent the past two decades working in an industry that I am passionate about. Over the last five years, I have been involved with cooking competition shows, including the Food Network hit, “Cutthroat Kitchen.” When I was looking for a discrete backup for “Cutthroat Kitchen” I turned to the Sound Devices 970, a 64-track Dante and MADI-equipped multi-track audio recorder.

Sound Devices 970 serves as a discrete backup for Alexander on production of Food Network’s “Cutthroat Kitchen.” On “Cutthroat Kitchen,” I use the Sound Devices 970 as a discrete backup for my Pro Tools | HD system in case of a hard drive failure or computer hiccup. The 970 runs in parallel to archive all recorded elements until post production cuts all the season’s episodes and gives me the “OK” to delete it.

FITTING MY NEEDS
I chose the 970 because I wanted something that wasn’t computer-based. I wanted a box that was going to back up everything to an SSD. For me, a solid state drive is really the way production recording is going. Ever since I started using the solid state drive, we’ve been bulletproof when working with the Sound Devices gear.

The benefit of using the Sound Devices 970 is that there’s no lag from the time you press the record button to the time it all syncs up and goes. Every time I record for television, I’m recording to an external timecode source and usually an external clocking source; I’m punching in and out of that timeline all day long. Sometimes when you run a computer-based system and you move the cursor to the record button and click, it takes a moment for the computer’s processors to react, especially when we are using 7200 RPM drives. On the 970, you press play or record and the reaction is instant.

I use the 970 with MADI and hit Pro Tools MADI as well. I also split that same MADI stream out to the control room for monitoring. It works flawlessly.

FOR A RAINY DAY
The 970’s unique PowerSafe and File-Safe capabilities are standout features that additionally led me to use the recorder. These features give me the option and the peace of mind that my recordings are intact. When you are on set or out on location, recording multiple channels, it could be a total disaster to lose an entire take. In the event of a power failure or corruption of a file, knowing my files are being saved is great for me.

I am really impressed by how intuitive Sound Devices gear is. I’ve used Sound Devices equipment in below freezing temperatures and didn’t have any problems getting the gear to power up, be ready to go and record for the whole day. In addition, their customer service is amazing. The personnel help you get up and running quickly. For me, that’s gigantic.

The great thing about Sound Devices is that their equipment is made by sound people. All of the file naming and just the way the machine functions; it’s clearly made by people who know exactly what it is that we need out in the field.

Alexander has been a sound supervisor on a number of projects, including Fox’s “Utopia.” He can be contacted atminegoesto11@mac.com.

For more information, please visitwww.sounddevices.comor call 608-524-0625.

LAS VEGAS—At the 2016 NAB Show, Sound Devices will showcase its 688 12-input, 16-track portable audio mixer/recorder, along with two optional accessories: the SL-6, enabling streamlined powering and wireless control, and CL-12 linear fader controller, respectively.

Sound Devices 6-Series

The 688 is the first 6-Series mixer/recorder to incorporate Sound Devices’ Mix Assist technology, which uses a sophisticated algorithm to automatically attenuate inactive input levels and maintain consistent background levels, regardless of the number of open mics.

The 688 features six high-bandwidth mic/line XLR inputs, each with phantom power, high-pass filter, analog input limiter, variable pan, and six additional line-level TA3 inputs for added flexibility in complex productions. All inputs are assignable, pre- or post-fade, to eight-output buses. For recording, the 688 offers 16-track, polyphonic or monophonic broadcast WAV and MP3 file recording to SD and Compact Flash cards. All common sampling rates are supported, including 192 kHz on up to six tracks.

The SL-6 accessory accepts up to three dual-channel slot-in receivers. When used with the 688, it provides cable-free powering, audio interconnection, and antenna distribution. And the CL-12 can be connected to any field production mixer in Sound Devices’ 6-Series line. Its linear fader controller expands each portable mixer’s capabilities with up to 12 100mm linear faders, LED metering, and quick-access buttons to key functionality, making it ideal for live mixing of multiple audio signals.

The 2016 NAB Show takes place in Las Vegas, April 18-21. Sound Devices will be in booth C6040. For more information, visit www.nabshow.com.

REEDSBURG, WIS.—It’s a family affair now, as Sound devices has announced that its CL-12 linear fader controller is now compatible with the entire 6-series line of field production mixers with its recent firmware update. Originally only for the 688 mixer/recorder, version 2.11 of the CL-12 is now able to function with the 664 and 633 field production mixers.

CL-12 with 664 production mixer

The CL-12 is an optional accessory that features 100-mm linear faders for the mixing of multiple audio signals. It provides both the 664 and 633 with sunlight-views, 22-segment LED metering, and 7-segment PFL metering with limiter activity. There are also three user-programmable buttons and back-lit buttons for access to functionalities like metadata entry, transport controls, track arming, and routing. This new firmware version also offers new features for the 664 and 633, including QR codes for smartphone access to online documentation, and a User Bits mode that jams external timecode user bits. The CL-12 also features two additional USB ports, one for a USB keyboard connection and one for powering an optional USB lamp.

When using CL-12, the 664 has a 54dB linear fader range across 12 linear faders, high pass filter control on channels 7-12, and input phase control on channels, 2, 4, and 6. With the 633, the CL-12 provides 96dB linear fader range across six linear faders, high pass filter control on all channels, and input phase control on channel 2.

Sound Devices is a designer of audio products and acoustical test and measurement applications.

LOS ANGELES—As a production sound mixer and audio supervisor, I’m involved in the production process from the early planning stages through delivery to post. Since I—along with my company Audio Justice—specialize in house-reality builds, hidden camera, and competition shows, I’m often faced with a huge number of microphones and sound sources to record. Managing these shows requires reliable equipment, efficient workflows, and utilizing the best technology offered on the market. Sound Devices’ 970 audio recorder checks every box and is a staple on every set I work on.

Nathaniel ‘Doc Justice’ Barrow using Sound Devices’ 970 audio recorder

DANTE COMPATIBLE
“Steve Austin’s Broken Skull Challenge,” a weekly reality show that airs on the CMT network, consists of eight contestants and Austin, a former pro wrestler, all of whom are typically outfitted with Lectrosonics transmitters and Sanken or Countryman lav microphones. In addition to these nine audio sources, plant microphones and wireless booms are positioned around the set to capture all critical audio. This includes dialogue, footsteps, splashes, bangs, crashes, and any sound that a particular challenge may create. It all adds up to a lot of tracks and a lot of metadata. Using Sound Devices 970’s built-in Dante network capabilities, I’m can easily route and label all of my tracks.

The majority of the shows I work on have a centralized control room, plus ENG mixers who are mixing specific scenes or to assigned cameras; such is the case on “Broken Skull Challenge.” I employ the 970 as the main multitrack recorder, while the ENG mixers use Sound Devices 664 mixer/recorders to record camera-focused audio. The 970 works in conjunction with the Yamaha QL1 digital mixing console, which allows for 32 tracks of Dante directly from the console. Using the 970 with the QL1 means a single CAT5 cable sends and receives all of my audio back and forth with no issues, making it easier to directly handle all of my audio sources and mix buses.

Since the 970 has its own delay and gain compensation for each channel, I can utilize either the Dante publishing or the analog audio outputs to route audio to other sources. With these features, I’ve been able to match the delay of the video microwave transmitters from the 970 back to the Yamaha QL1.

FLEXIBLE DELIVERY
The 970 also offers a lot more flexibility with my deliverables. It allows me to record directly to a CF card, and back up that audio to an SSD. This way I can deliver the CF card right to post and keep the SSD backup for myself. Recording to all solid-state media means I no longer have to deal with the inconsistencies and unreliability of spinning hard drives, and I feel much more comfortable delivering to post. Metadata management is paramount, and having structured and specific sound reports included directly on the media means post has a clear roadmap of the day’s audio.

The combination of the 970 and QL1 has transformed my job. Dante networking has become a big part of life on set, and 970 as a dedicated audio recorder does a great job of handling it. I put a lot of trust in my equipment, and I know the 970 does its job and does it well every time.

Doc Justice owns Audio Justice, Inc., a sound services company in Los Angeles. He can be reached atdocjustice@me.com.

For more information, visitwww.sounddevices.comor call 608-524-0625.

CHICAGO—The draw of reality TV is that it is unpredictable; you never know who is going to do or say what next. For field mixer Sharon Frye, however, that means having as many available tracks to record is important. As a result, Frye turned to Sound Devices 664 and CL-6 products to make sure she captured everything on the Oxygen reality show “Bad Girls Club.”

Sharon Frye with the Sound Devices 664

Needing to track seven girls living together under one roof, the 664 is able to record 16 tracks of audio to SD or CompactFlash memory cards. Combined with the CL-6 input control expansion accessory, the mixer gains six more rotary faders with PFL switches, LED metering and illuminated transport controls. In addition, the user interface is easy to read, making it ideal when shooting in any lighting situations.

With the ability to be both mixer and recorder, the 664 was the only recorder that Frye used during the 24/7 filming schedule.

Sound Devices designs and manufactures portable audio mixers, digital audio recorders and related equipment for film and TV applications. The company is based out of Reedsburg, Wis.

REEDSBURG, WIS. – Sound Devices has announced that its SL-6 powering and wireless system for the 688 mixer/recorder is now available for shipping.

The SL-6 is an optional accessory to the 688 and wireless receivers that streamlines linkage between the two by providing tighter integration for up to three dual-channel, slot-in receivers. Combined with SuperSlot compatible receivers, the SL-6 offers wireless receiver control and monitoring direct from the 688 mixer.

The SL-6 consists of an NP1 battery slot, USB charging port, two 12-V isolated outputs and two non-isolated direct battery outputs. It also features SuperSlot technology and is able to attach to the 688’s top panel.

Sound Devices designs and manufactures audio and video products from its Reedsburg, Wis., headquarters.