Tips & Tricks… Got Some!!??
August 27, 2010 – 9:27 pmSend them to me and I’ll post them on the Tips & Tricks page with a link/email to you!!!
My Sound Devices CL-9 arrived today….
August 27, 2010 – 9:22 pmCome back soon for a full review! I hope it’s a good one!
Sound Devices CL-8s have been failing —> RESOLVED VIA NEW FIRMWARE!
May 19, 2010 – 9:59 pmI’ve been working on a show for the past couple months with a 788T/Cl-8 Combo rig. So far we’ve had 5 CL-8′s crash and die. They would NOT power back up.
Alfredo del Portillo, who is working long running show with a similar rig, has had four CL-8′s go bad.
I talked to Nick at Sound Devices and while they don’t have a clear answer, they think it has to do with a chip that is losing it’s memory somehow in combination with the lastest firmware update.
Sound Devices has actually paid to rent Alfredo’s rig for testing to see what is going on because his rig has been experiencing the problem while it is running the 2.0 firmware, which is an anomaly. (2.01 is the most recent version)
It seems to be some sort of software issue with the units as the CL-8s are able to be reflashed to life at the factory in Wisconsin, but it could also be a defective memory chip.
Hopefully we’ll have an answer soon!
Spring Cleaning SALE!
April 1, 2010 – 12:27 pmHi Guys,
I’m selling a few things that might be of interest to you:
JK Audio THAT-2 — ($188 new) $100
Whirlwind Pressbox 12 – Passive 12 channel line to mic splitter ($399 new) MINT! $300
(2) BEC Mounting Boxes and a Plate for mounting 2 411a Recievers onto Anton Bauer Plate VGC ($180 new) $110
Lectrosonics SM SMD/Qa Belt Clip
January 17, 2010 – 11:30 pmI love a company that listens to it’s customers.
I got my new belt clip yesterday courtesy of Lectro from a request that I made ( as well as many others) for a belt clip similar to the UM style belt clip for the SM / SMD/Q style transmitters.
Why? The existing options for the SM style transmitters were the leather pouch and the (stainless steel) clip. Neither of these were great solutions and often didn’t stay in place on cast, nor did any of the above allow for lav mic cable management.
The new belt clip does.
It’s a bit smaller then the UM clip and made of blue anodized aluminum.
The *only* thing (and there is no way around it) is that because it isn’t as long as a UM Clip, it might not grab as well when used on large belts.
That being said, I love it.
Thanks Larry!
Shooting in Ghana, Africa
November 28, 2009 – 2:47 pmSo, this week I’m in Ghana. I’m shooting a corporate documentary for a Goldmine.
In the past month, I’ve been a pin cushion… Hep A/B, Typhoid, Yellow Fever, Polio & 3 Rabies shots.
Tomorrow is our first shoot day. We are in So far, block 21, 22 & 26 seem free and clear.
I already have had to pull out the solder gun as my return 1/8″ cable got stuck in the door of the pickup truck bed and snapped. Extra glad I brought my solder/repair kit.
More adventures to come!
Shoot Day 1 – Kumasi, Ghana
We had a long day today. We spent most of it in the mud at a mine site in a very remote area. We got some great footage and interviews. The jib shots look fantastic. We’re shooting on Sony EX3s.
Somehow my coiled boom cable AND my internal boompole cable both needed solder repair. EXTRA extra glad I brought the solder kit!
As things come in threes, my SLR lens UV Filter broke. Well, better it than the lens!
We finished the day at Geodrill HQ. After that, it was back to the hotel.
Tomorrow, we’re shooting at a second drill site, and then off to the airport to fly back to Accra to shoot there.
Diary of a First Time Audio Cable Maker!
November 25, 2009 – 8:53 pmI recently decided to bite the bullet and teach myself how to solder my own cables from scratch.
I know I’m FAR from the first or last audio guy to do it, but I thought you might enjoy reading the narrative of my ups AND downs of the “Chris Durfy Cable Making Machine!
Stay tuned!
Top 10 Issues with using a Sound Devices 788t / CL-8 in a Reality Rig
November 9, 2009 – 3:44 pm
While waiting on my 552 to arrive, I’d been using my 788t on the reality show I’ve been working on. While it’s a incredible device, there are some issues that fellow mixers should know about.
My rig consisted of a 788t/Cl-8(firmware v1.76), 3x 411a’s, 2x UM400a’s for camera hops, 1x Comtek 216 and was NP-1 powered via a Remote Audio BDSv2.
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1. No Return: The 788t has no built-in return. There are two ways around this issue. One is to reroute a return into one of the input channels on the 788t, thereby losing a channel or two of inputs. The other option is to use an external adapter that allows you to A/B the return and the output of the 788t. Trew Audio made me a custom return box for $110. That being said, I do wish that Sound Devices would have built a return into the CL-8.
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Delay on Faders: There is a noticeable delay on the faders, especially when quickly ramping the knobs up or down. Apparently this is due to some short of digital delay inherent in the hardware design. It takes some getting used to. Sound Devices has told me they think future Firmware releases may improve this issue and actually solve this in the future.
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No Definitive VU Meter: There are lots of lights and LEDs that give you visual impression of levels, but there is no markings for levels beyond that of the 0db marking on either the LED VU Meters or on the LCD VU Meters. (I am told by Sound Devices the LCD VU may change in future firmwares. Firmware v1.76 did introduce customizable VU meter ballistics so a user can program the exact level of each LED.)
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Power Hungry: Simply put, the 788t likes the juice. It will eat up your lithium NP-1s at a rate much quicker than a 442/552 will. It is advisable to turn off tracks you are not using to help reduced the power drain. For a comparison, a 552 draws about 200mA, while the 788t running full blast can draw up to 1000mA.
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Heat Buildup: There has been some reports of heat build up. I have not personally experienced these yet, but I haven’t yet operated my unit in the hottest part of the summer. According to Jon @ Sound Devices, the 788t can run very hot without any instances of lockups or problems. The chassis itself is designed as the heatsink.
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Custom Cables Needed: You are going need some cables. First you’ll need at least four TA3f to XLR cables for the inputs. You’ should also have six more on hand for the outputs for certain situations. Also a 1/8” to stereo XLRs for the 7/8 unbalanced output. If you are going wireless to UM400a transmitters, I found that I needed two line level -10db padded TA3f to TA5f. I also found the I needed a non padded TA3f to 1/8” to drive a Comtek M216. I also had a custom 10pin breakaway snake made for the 788t with timecode and return built-in.
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IFB / Routing Issues: Currently, there is no routing option for sending a summed L/R headphone output mix to an output for an IFB. Jon tells me this will be changing soon with that and a multitude of other routing options will be available in an upcoming firmware. Instead, a workaround is to send all channels to an output and then pot down the coarse gain to remove the mic from the IFB mix. You could also set up custom headphone routing to all channel in one ear, and then route that mix to the IFB output, but I prefer to preserve my L/R mix to the headphones.
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No L/R Pan knob: The 788t allows you to send L, R or L/R without any pan options like the 442/552. It’s not a deal breaker, but when mixing a single channel, I normally like to split the track over two channels, with one slightly lower than the other. Jon tells me that the pan option will be available with the upcoming Panel Mixer for the 788t(!).
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Arming Track/s interrupts Output Program: If you are turning on/off tracks to save battery/recording space, be aware that the ALL source outputs will be interrupted for about a second while the channel powers up. This is a hardware issue that cannot be fixed. The workaround is to NOT turn off a channel, and just the coarse gain down if there is a chance a cast member might come back into scene.
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Occasional lockups: There have been some reports of random lockups by enabling certain functions in certain orders. Sound Devices is working on replicating the lockups and solving the issue. In my personal experience, I have seen no lockups of my 788t.
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Odd Shape in a bag: Okay, I know the title of the article says “10 Issues” but I had to at least mention this one. The 788t/Cl-8 takes up a weird space in a bag. I prefer to put the CL-8 on the bottom of the 788t and pack the inside of my petrol bag with a number of the long orange cushions to support the bottom open space.
The Wrap Up
While none of the above issues are deal breakers, it is good to be aware of the issues. The 788t/CL-8 is a powerful combination and knowing it’s limitations can make a strong rig even stronger.
First days with the Sound Devices 552 Mixer/Recorder
November 7, 2009 – 4:11 pm
First days with the Sound Devices 552 Mixer/Recorder
I got my 552 yesterday. First things first, let me say wow, as a first impression it’s freakin’ awesome.
So, what is the 552? Well, take a 442 mixer, add an extra input channel, then add a 2 channel recorder with time code input, then make it way more configurable and easier to operate, add a bunch of informative LEDs, add a weird sounding talking menu system and while you’re at it, add a talk back circuit to boot… all in a package ½ lb LESS than the 442… and voila – the 552.
Here is a list of the most noticeable differences between the 442 and the new 552:
Front panel configurable
Remember all the switches on the left side of the 442? Well on the 552, they are gone. Instead, the options for mic/line levels and phantom power are all accessible on the front panel via use of the channels PFL(Pre-Fade Listen) switch in concert with the slate mic switch to toggle settings.
The Knobs & Switches
The Input Faders are now contoured differently and sport a silver knob on the tip of the fader for fingertip control. (I call it the “Suicide Stick”, because it reminds me of the old steering assist knobs on older style school buses from waaaay back in the day). I really like the feel and response of the new faders.
The Coarse Gain, L/R Pot & Low-cut Filter knobs all have the same look and feel, The only exception is that the Course gain has an additional 12db of upper end gain than the 442 had.
(22-72db on the 552 vs. 22-60db on the 442).
The Headphone Volume knob is now a digital knob with a built in button. Not only does it control the headphones volume, but it also controls MUCH more. When the Headphone knob is rotated, The VU meter reflects the level of the volume.
The volume controller also controls secondary functions such as the menu, LED brightness and return level control, depending on the button or switch being held down, then using the volume control to adjust setting and make selections with it’s push button. Simply pushing the volume button engages the zoom function on the VU meter (which is a mode where it shows you 0 to 20 on the mixer only, but spread over the whole VU).
The PFLs operate differently from the 442. Rather than the “press and hold” switches on the 442, when you slide the switch and let go of the PFL, the channel is soloed until you slide it over again.
The Slate Mic/Tone switch is slightly changed too. When you quickly slide the slate mic switch and release it, it solos the slate until you slide it again. If you press and hold the slate switch for more than a moment, it releases the slate mic when you release the switch. The tone switch no longer latches. Instead, it acts like a press and hold button, but when you hold it on for two seconds it stays in tone mode until you flip the switch again to release it. The slate mic level is adjusted by holding the slate mic and turning the headphone volume knob. A visual level shows on the VU meter the volume change. (This may SOUND complicated, but it’s very intuitive once you do it for the first time!)
The Return switch for A & B returns now have LED lights showing if they are active in the headphones. You can adjust the levels for the headphones by holding the switch for the return on and adjusting the headphone knob to raise or lower the levels. A visual level shows on the VU meter the volume change.
SVEN (Synthetic Voice Enhanced Navigation)
SVEN is a voice driven menu system that talks to you through your
headphones. Frankly, he is a little hard to understand at first, but
as you become more familiar with”him” it starts to get easier to
understand him.
SVEN announces individual menu choices and options, record/play
status, time of day and recording time remaining on the card.
The first person who figures out how to hack the 552 to get SVEN to
sound more like a HELEN will get some serious kudos from fellow sound
mixers. 
Built-in Recorder
The 552 incorporates a high quality two channel WAV/MP3 Recorder. It records in 16 or 24 bit and up to 96Khz WAV files.
It accepts incoming timecode, but does not generate it’s own. Timecode needs to be fed into the mixer via a TA3 connector on the right side to sync the device with a camera/s. This could be done a number of ways, such as hardwiring, or the use of a lock-it box in the bag with the 552, or even running a wireless transmitter on the camera sending timecode out to a receiver in the bag to the 552.
The 552 automatically changes it’s timecode settings to reflect the type of incoming timecode.
The file saving work flow saves each day of recording in a daily folder (Year, Month,Day, 09Y10M15) and records filenames in order of recording (Y,M,D, # – 09Y10M15-001.WAV). It also has a max recording size of 2gb and automatically splits to the next file when it reaches the limit.
Pressing and holding the Battery Check button enables SVEN to tell you how much recording time remains on the card.
You have to remove the card and mount it in either a Windows or Mac system to transfer the files. The USB connector that is next to the card is for factory use only and does not allow you to use it to transfer data.
Another nice feature of the recorder is the ability to playback files to headphone AND/OR to your source mix or IFB. To enable Output/IFB playback, hold down the Battery Button and press the play button.
There is a small chance of bumping the record toggle button, but I don’t think it’s that much of a problem, but a record switch lock might be a nice future addition.
The Menu
Getting into the control menu is much easier and can be done without having to turn on and off the device. In fact, it can be operated while actively mixing without interrupting the program! To access the menu, hold down the Battery Check Button and click the Headphone button. SVEN guides you through the setup of each function. He takes a little getting used too. Use the volume control to guide yourself through the menu items and use the volume push button to choose your selection. To exit the menu and accept your changes, simply push the battery check button.
Menu items are quite diverse and there are many more configuration options than with the 442.
Talkback Function
When the talkback function is selected in the menu, the 1/8” headphone jack is split off (from the 1/4”)
so that the slate mic appears in the right monitor of the boom operator’s headphones for discreet communication from to the mixer. In this mode, the slate mic does not go to program mix. There are various options for what gets routed to the boom op.
As of yet, I’m not sure if it can be configured to allow for a talkback from the boom op.
New LEDs
There are a lot more LEDs on the 552 than the 442. Whereas the 442 had Level , Headphone, Peak, Limiter and Power LEDs, the 552 has many more informative LEDs than it’s predecessor. Each pot has it’s own channel specific LEDs that show the status of the channels phantom power and line/mic status. Some channels have other LEDs for Phase, MS, and Channel Linking.
There is another LED directly above each pot that I particularly like: the Input Signal LED. Where as the 442 had a Peak & Limiter LED, the 552 now has a single LED the changes colors and brightness depending on the level pushing through the channel (green, yellow, red). It also changes to an off-yellow when the PFL is activated on channel to show that it is being soloed.
LED Brightness is controlled by holding the battery check button and turning the headphones knob left (-) or right (+). There are MANY more levels of brightness steps than the 442 five steps.
Other LEDs:
-The Record LED changes colors to reflect current recording/playing status. It blinks yellow if no SD/SDHC card is in the slot or if the card is in, but remains unformatted.
-The Zoom LED lights up when it is engaged.
-There is also a LED on the front that lets you know if timecode is actively being fed to the 552.
-Just like the 442, the Headphones LED will glow read when the headphone amp starts to overload.
Other noticeable differences:
-Supports AES Digital outputs.
-Return Loop back ability (Takes the A&B return and sums them and outputs to Tape Out and Mono Mic out)
-Split ear Return Monitoring (Listen to A Summed Returned in left and B Summed Return in your right ear)
-Left Tone Oscillator function (to check to make sure your left and right channels are properly set on cameras)
-Time of Day Date/Clock
What’s Missing?
Not much really.
One thing missing from the 552 vs the 442 is the option for T power mics. All you 416T users are going to have to upgrade or get a Phantom to T power converter.
I also wish the 552 had a built-in time code generator. Maybe the 552T is in the future? We can only hope!
In Conclusion:
I really love my 552. It is an huge step forward in field mixing.
May the 442 rest sweetly in heaven… and the X5 burn baby burn! Long live the 552!
(I will say that I used to have a Wendt X5 and it served me well for many years, even though I had many particular issues with it (limiters, channel bleed, etc.) )
More information can be found on the Sound Devices website at:
http://sounddevices.com/products/552.htm
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- Sound Devices 552 Top View
Custom 788t return box from Trew
October 12, 2009 – 9:22 pmTrew made me a custom box that plugs into my 788t headphone jack. I then plug my headphones into it and the return signal from the camera. That allows me to select direct 788t or return sound. It has a volume control and a left/right/stereo selector.
It cost $110.
I also had them wire a custom break away cable with timecode built in. I had the time code Lemo to Lemo w/ adapters on the camera side (Lemo to Coax in & out).
It should also come in handy with the 552 when it comes out.
-Chris
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