Slog Blog

Filmmaker Slog: in the cloud is a blog by Mike Peter Reed, about many things but primarily production sound. The sub-title: "Making a good film is hard work; making a bad film is hard work."

Yep, it surely is.

Link.

The Sound Cart

Hey, kids.

Be sure to drop by veteran mixer Phil Palmer's blog The Sound Cart. Recently, he posted a series of photos of his new cart that he had custom built.

Currently, I rent a beat-up old Magliner cart when I need one. It's cheap and it gets the job done, but it certainly isn't the most elegant of beasts. Down the road, when I'm (hopefully) doing more feature films, I'd like to put one together myself. Seeing photos of setups like Phil's makes it easier to visualize what you may need in the future.

Link.

Coffey Audio Files Spring '08 Now Available...

...as either a PDF download, or sign up to receive a hard copy via snail mail.

Link.

This So Totally Happened On My Last Gig

Talk about a tough day on the job...

Trew That

Skylor Morgan of Trew Audio has posted a series of video tours fresh from NAB in Vegas, and no, they're not tours of strip clubs (unless the quality of audio gear in strip clubs had dramatically increased lately...which would be a surprise to me, because I certainly wouldn't patronize such places. Ahem...).

Link, courtesy of trewaudio.com

Eight Is Enough

Alas, your fearless reporter could not swing the funds to make it to NAB this year, so the staff here at the offices of sync.sound.cinema will be furiously combing the internets as relevant product announcements trickle out. First up, something on many a mixer's wish list: Sound Devices Introduces 788T 8 Track Field Recorder. From the website:

Designed specifically for multi-track on-location productions, the eight-track 788T features a significant expansion of input and output capability—eight full-featured microphone inputs and eight tracks of recording. The eight inputs, together with a thoroughly revised digital architecture, provide unprecedented recording flexibility...

To accommodate the larger data storage requirements of multi-track recordings, the 788T comes equipped with a 160 GB 2.5-in. internal SATA hard disk drive. This on-board storage provides up to 30 hours of 8-track, uncompressed 24-bit audio recording of industry-standard Broadcast Wave files. Additionally, CompactFlash cards with UDMA support and external FireWire mass storage volumes can be used for recording and playback. All three storage mediums can be selected for simultaneous, redundant recording.

Street price: $5995

www.sounddevices.com

Lav Is a Battlefield

Hello, Cleveland...

Dan "The Man" Brockett has come through once again with a stellar article comparing 16 lavaliere microphones, along with recording samples of each. Snip:

Often referred to as a "lav", lavalier microphones are a category of sound gear that is often overlooked and taken for granted by those new to recording sound for picture. When you consider how many models of lavaliers are available, it becomes a considerable challenge to make an intelligent choice about which lavalier you should use in a given situation. If you speak with professional sound mixers, they often have a favorite manufacturer and model of lavalier that they like to use, but why? Based upon my experience, lavalier preference almost seems like a birthright, passed down from generation to generation, but if you are not a professional sound mixer, how do you know which model best suits your needs?

But my fav quote has to be this:

The lowest cost XLR cable will always have better sound quality than the most expensive wireless microphone system.

Amen to that. In my experience, people unfamiliar with audio tend to be blinded by the notion that wireless transmitters are somehow "magic". While they can be indispensable tools, they come with their own caveats.

Link.

When It Rains, It...Well, You Know

Apparently, I have been living under a bigger rock than usual.

Right on the heels of the Zaxcom Fusion* come two other combo units, both from legacy names in the film sound biz and all aimed squarely for the same market.

First up, the Nagra VI. The Kudelski folks enjoy a well-earned reputation for pretty much defining modern production recording with their 1/4" reel-to-reel decks. I'm embarrassed to admit I've never used one myself, but from all accounts, they were built like tanks, if tanks were built like beautiful watches. Snip:

It offers six independent analogue audio inputs. Inputs 1 - 4 are equipped with traditional NAGRA microphone pre-amplifiers for dynamic and phantom +48V microphones...
The NAGRA VI records to a 120GB internal 2.5" hard disk. An extractable compact Flash card is used to record a copy of the audio tracks depending on the users track selections. The NAGRA VI allows approximately 20 minutes of 6 track 48 kHz 24-bit recording per GB of available disk / card space.

Next, the Sonosax SX-M32. A fairly common name on the audio cart, Sonosax won a Techinical Achivement Award for creating the SX-S in 1983, a veritable workhorse mixer for film recording. Their foray into the ENG/EFP looks just as interesting. Snip:

# Electronically balanced Mic/Line Input, XLR connectors
# 48V Phantom for Mic power
# Pre LF Cut for rough wind conditions - PAD - Phase reversal
# Input trim on the front panel for easy Mic Gain adjustment, retractable
# Sweep LF Cut, retractable
# Mix routing by PAN Pot
# Stereo and MS linking of channel 1/2 - 3/4 and 5/6
# M/S Decoder
# PFL for rapid channel monitoring
# Limiter on each channel
# Stereo AUX Input assignable to the MIX or to Track 7&8
# Electronically balanced Line Outputs, XLR connectors
# AES Digital Out, 44,1 and up to 192kHz@24bits
# Integrated 8 Tracks Recorder on Hard disk and CF Card, with specifications similar to these of the MINIR82

Since this writer is on the lower end of the Wechsler Scale, it thankfully doesn't take a genius to see that all of these units are clearly aiming for Sound Devices' territory: highly portable (ie "baggable"); rugged, high quality builds; four tracks-plus recording capability; and stereo mixdown for a camera feed. Here's hoping that the market opens up and prices come down a bit.

Links:

www.nagraaudio.com
www.sonosax.ch
www.zaxcom.com
www.sounddevices.com

*A Fusion sample is on its way here, and a review will be forthcoming.

Petrol PEGZ-1F Eargonizer Audio Bag

Choosing an audio rig is about as personal as shopping for shoes. You need something both functional and comfortable. You need something that will hold all of your necessary gear securely while allowing unfettered access. And as with most things that blend the technical with the creative, the tool becomes an extension of the operator. A well designed bag and harness keeps things close and open, while bearing the load comfortably during a full day's work.



Those of us who do not have tentacles in place of regular arms will certainly appreciate the PEGZ-1F Eargonizer from Petrol. Petrol has enjoyed a well-earned reputation for making some of the more MacGuyver-style gear bags on the market; the 1F is no exception.

Essentially a re-design, the 1F has one critical difference: the cable access ports have been moved forward, away from the operator's body. Rather than having the mixer against you, it also is mounted forward, providing better ergonomic access for those who need it. (It must be said, for those of us out there who spend more time lifting pints than pounds, not having your meters blocked by a rolling gut counts for something.)

Observe, class.

The 1F is constructed of the same rugged blue ballistic nylon and high-visibility orange fleece lining as the rest of Petrol's product line. Upon first glance, the bag is identical to the previous model. It's only when you actually mount a mixer that you can see the well-thought out differences.

In addition to moving the mixer forward, there are also new triple d-ring mounting points across the top, allowing you more flexibility to rig the bag on a harness, distributing weight more efficiently. Trust me, after a 12 hour day bagged up and on your feet, your back will appreciate even the slightest comfort adjustment.

The new d-rings (not to be confused with E-Ring, which was cancelled due to bad ratings).

And finally, there is a larger, transparent window across the removable top flap. Not only does it allow you full visibility while keeping the bag's contents covered from rain and dust, it also had a dual-zippered system that can re-size the flap on-the-fly. The system can be configured to allow even the most ham-fisted of you to get both hands in the bag to adjust faders or change out batteries, all the while keeping the gear nice and dry.

The 1F keeps the other features that made the first one so useful, including a whole bag of hook and loop dividers and pads, allowing almost infinite variability to meet just about any configuration you may need. Smartly, the designers included two internal cavities sized for NP-1 batteries, keeping them out of sight and out of the way. The bag comes standard with two of Petrol's very nifty wireless pouches, that are designed to clip on the bag at a variety of locations, including the harness, should you need to move a receiver up the body a bit to gain clearer reception.

The super-secret battery compartments.

But the bag may not meet everyone's needs. I generally go out with a 442 and two or three Sennheiser G2's. The wireless are pretty small and light, compared to, say, Lectros, so the 1F covers me just fine. However, should you need space for more receivers, and /or a recording deck (the majority of my paid work is single-system), then you may wish to consider a larger bag up the line, or another manufacturer. As of right now, the 1F (the smallest of the line) is the only one available with the forward-mounting option.

Using the PEGZ-1F on a recent HGTV shoot with DP Christopher Nolan.

Pros: Usual Petrol build; extremely customizable internal wiring structure; more ergonomic forward mounting of mixer; exterior mounting pouches for wireless.

Cons: may be too small for over-the-shoulder double-system, or larger numbers of wireless receivers.

MSRP: $283

www.petrolbags.com

Zaxcom-o-rama

Today is apparently Zaxcom day here at the offices of sync.sound.cinema (and by offices, I mean the beat-up easy chair I bought from Goodwill for seven bucks ten years ago).

The big Z just announced that they are now shipping their new 16-track recorder, the Deva 16. Snip:

The Deva 16 provides fault-tolerant, multi-disk recording with automatic file recovery to safeguard audio even in the event of an unexpected power failure. The system provides eight analog mic/line inputs with 48V phantom power, four additional analog line inputs, eight analog inputs, and eight digital direct outputs...

The unit records to three internal storage mediums or directly to an external FireWire drive without the use of additional computers...Audio pros can refer to the Deva Sound Report, a new feature that generates an Excel file of all metadata that was entered during production.

And yes, I checked: the unit will make you coffee in the morning.

Link, via postmagazine.com.

Zaxcom Fusion Mixer/Recorder

Zaxcom, makers of high-end digital recorders and wireless, have introduced the Fusion Combination Mixer/Recorder. Snip from coffeysound.com:

Zaxcom's newest product, the Fusion, offers the cumulative functionality of an 8 channel ENG mixer and portable recorder by offering the proven technology of the DEVA in a smaller more affordable package... Fusion features 8 analog inputs via full-sized XLR connectors and 8 AES digital inputs via a 15-pin D-sub...These sixteen inputs can be mixed to 4, 6 or 8 record tracks (upgrade option) using the 8 assignable fader knobs on the front panel.

At $7995 for the basic configuration, it feels a little spendy for the ENG/indie market, but considering the features and capabilities of the unit, the price feels reasonable. It's also interesting to see so much horsepower in such a compact chassis; the Fusion looks like it could free up a good chunk of mixing cart real estate all by itself.

Recently, they held a demo at Coffey Sound to introduce the Fusion (video clip below courtesy of Coffey Sound). Please to enjoy:



Link to Zaxcom product page.

Link to Coffey Sound Catalog page.

Multiple Wireless Disorder

Day nine of twelve straight for HGTV.

Man, am I tired. But we are in the home stretch, which is good.

The shoots are fairly standard: wire up everyone and mix away. I'm using a multiplex snake to hard-wire to the camera, but on certain gigs, it's prudent to use a wireless hop, saving yourself the trouble of getting hung up on bystanders and missing that crucial shot.

To that end, B & H have put up a primer on using multiple wireless systems on cameras. Snip:

If you've ever considered connecting a wireless microphone to your video camera, the thought may have crossed your mind that it wouldn't hurt to have more than one mic. Attaching multiple wireless microphones to a video camera can be a daunting prospect for the uninitiated. This guide was created to show you the ins and outs of using these systems successfully with your video camera.

It's pretty basic, but does a good job of detailing the options available for wiring newer, smaller cameras with wireless receivers. Until recently, the only professional solutions for rigging wireless were meant for full-sized broadcast cameras. Now that smaller form-factor cameras are becoming common on set, these smaller brackets will become more and more useful.

(This is from a retail site, and thus is essentially a product promo, but the information is still valid.)

Link.

Crimson And Clover(field)

I can now say, unequivocally and for the record, that having bronchitis sucks and blows.

It's day ten, and the antibiotics are just now kicking in. On a positive note, I have developed a new and lasting relationship with my couch, having not left it for the past week and a half (so if any of you feel compelled to make a Brian Wilson joke, now's the time).

But before I succumbed to the creeping crud, I did get to take in a screening of Cloverfield, the monster-attacks-city movie with a very effective P.O.V. perspective for its main narrative conceit. It may be common knowledge at this point that the movie was shot on a variety of high-def and digital cinema formats in order to facilitate the idea of a "civilian-shot" video, but the filmmakers also went so far as to record M/S stereo audio directly into the main camera.

Now, I've made my feelings on single-system audio well-known before. But I have to admit, I was thoroughly engrossed in this movie (barf-inducing whip-pans aside), and never felt like the production audio had been compromised in any way. It isn't appropriate for every project, and can often impede the flow on set, but in this instance, it was the way to go.

Link to High Definition Magazine article (there's , like, one sentence devoted to audio, but what can you do?).

It Is...Alive [Bill Murray Voice]

Hey-o.

Welcome back, class. Now, I want you to take out paper and pencil and write an essay about what you learned over your winter break. [class rolls eyes]

I, for one, spent most of the month duking it out with software gremlins that have been plaguing my latest post audio project. Tough little boogers, they are....

But, on to catching up: Petrol announced an update to their Eargonizer audio bag, including new design features. Snip:

At the rear, the Eargonizer is equipped with a longer Velcro holding strap. This allows the strap to more firmly grip the top carrying handle and anchor it to the back of the bag when not in use -- keeping it safely away from the opening. The new, fully transparent vinyl top cover provides better visibility of the bag's contents. Three “D” rings have been added at the top of each side to enable a greater range of carrying options. A neoprene carrying strap is now included for comfortable, over-the-shoulder toting.

Although, anyone with any sense of self-preservation would do well to acquire a harness; your shoulders will thank you for it. (And, if any other body parts start talking to you, seek help immediately).

I own one myself; a review will be forthcoming.



MSRP: $283

www.petrolbags.com

Do I Hear 4.6 Billion?

From Wired Business News: FCC Releases 700-MHz Auction Bidder List.

Snip:

As promised, the FCC released a list late Tuesday night of what turns out to be 266 potential applicants who are all seeking to bid in the upcoming 700 MHz auction scheduled for January 24. The FCC released no further information about how much each company will fork over to the government or even what portion of the 700 MHz spectrum they are bidding on, due to auction rules set up previously.

Google, a company that has already admitted it will be putting up at least $4.6 billion of its own money for the highly sought after "C" block, had its application accepted and is bidding under the name Google Airwaves.

"Google Airwaves", eh? With the impending release of Android, Google has made their interest in the wireless market quite evident. If they win the spectrum, I'll be curious to see if they can make OTA internet connectivity a viable option.

Many people will be vary of one company having so much control over the information we consume, from search results to the very carrier medium by which it reaches us. Think about it: if this were Microsoft instead of the big G, the pundits would be up in arms yelling about monopolistic practices.

I'm hoping it works out for two reasons:

A) If we as audio professionals are going to have our tool sets limited, it better be for a good reason. As I've stated before, I believe in the power of information and education. If a "free" (i.e. probably ad-supported) internet service becomes available in metropolitan areas, it would help to close the digital divide. Low-income folks will have access to online resources without having to be limited to public library hours and locations, allowing them the opportunity for self-education via straight research or online school courses.

B) It will press existing internet providers to either drop their prices or significantly increase their bandwidth offerings. I've read in a few places that the US pales in comparison to Europe and especially South Korea for what we call "broadband". If our options are between decent gratis wireless, or a screaming fat pipe for a monthly fee, we can choose what's best for our needs.

We shall see...

Link, via wired.com.

Consider Me Timbers Shivered

Avast ye scurvy dogs, and be sure to check out Recording "The Morning Light", an article about handling documentary audio on a ship in the middle of a 2300 mile race. Snip:

Tasked with capturing the audio for the Morning Light project, Production Sound Mixer David McJunkin faced a series of formidable obstacles during the lengthy preparations leading up to the actual race that forced him to implement some highly unique solutions in recording the production tracks.

Wind, salt water, and the unpredictability of daily life on board a sailing boat in open water were just a few of the problems Dave had to overcome during this film that chronicles the year-long run-up to the race.

Hardcore. Makes my prior sea excursion seem like a canoe trip.

Link, via locationsound.com.

The Noise Has Already Been Broughten

Hey, kids.

Today's treat comes from DV Magazine, in the form of a brief overview entitled Bring the Noise — Simple Steps To Ensure Solid Sound Recording On Location. The author, Jay Holben, is a former cinematographer, but we'll overlook that, as he has the right idea. Snip:

General audiences will forgive poor images, but they will rarely forgive poor sound, especially if they can’t clearly hear what the subjects onscreen are saying. Obtaining good sound just takes time, consideration and a willingness to get it right—adding artistic talent to the mix can then make it great.

See? Even DP's can be taught. :)

Link, via dv.com.

And Away We Go....

This just in from Lectrosonics, via prolocationsound.com:

Lectrosonics Update

Lectrosonics Reblocked

Wireless frequencies are about to undergo some necessary shuffling, due to the FCC auction of the spectrum above 700 mHz, which will take effect February 2009. Lectrosonics is no exception, making Block 27, 28, and 29 no longer available except by special order in 2008 and entirely unavailable thereafter. To compensate, Lectro will be expanding the blocks available on the lower end of the spectrum. Blocks 19 and 20, pending FCC approval, will roll out first quarter 2008, with a possibility of further expansion later. In addition, more products will be added using block 944.

Thanks for the heads up, Whitney.

More Alphabet Soup RE: RF Spectrum

The folks over at Coffey Sound have posted podcasts (that's MP3s to you and me, Rusty) and PDF's of the CAS/695 RF Seminar: FCC Spectrum Sell-Off, the White Spaces Left and You. Here's an interesting snip:

• Public Safety bands will allow for various agencies to communicate with each other
• Services in balance of 700 MHz band largely unknown
• In both cases, wireless microphones will likely lose secondary broadcast rights above TV channel 51 sometime after end of DTV transition
•• Current and future system purchases should all be in frequency bands below 698 MHz!

(The exclamation point is theirs, but I agree with it.)

To do audio professionally, it isn't enough anymore to know acoustics, microphones, and levels; we are now expected to be radio engineers as well.

Not to moan too much, but consider that it would be the equivalent of expecting your DP to also be responsible for a wireless video feed on every project, in addition to framing, focus and lighting the shot. Yet another bullet point in a long line of items that differentiate ours from other departments.

That being said, there's still nothing else I'd rather do, and I've been lucky enough to make a living at it, so c'est la vie. :)

Link to the seminar, via coffeysound.com.

Ice Cream Social (only without the ice cream)

Jeff Wexler, who has done a movie or two, has created CinemaSound, the first (AFAIK) social networking site specifically for "those who do sound for image". Snip:

I read the article this morning in the L.A. Times about Marc Andreessen starting this social networking site called Ning. I have not been a fan of MySpace or Facepage or any of the others, but this Ning thing seems quite a bit classier. Since most of the world seems to be heading in this direction, where Internet based "communities" are replacing face-to-face interactions, I felt it was important to explore these things. I have been quite pleased with my Discussion Group and now I am going to give this a try as well.

- Jeff Wexler

I'm with him as far as other social sites are concerned. While getting a peek at another mixer's personality is one thing, I might treat their opinion as suspect if I find out that their "fav movie was totally Chairman of the Board, bra. I mean, Carrot Top: what can I say? Jeanius."

Link.