Chapter 20

Production Sound

Four Digital Portable Sound Recorders

Nearly every director I have worked with in postproduction jumps up and down insisting on how much he or she wants the magic of production, but in reality so many of them do not do their part to assist the production mixers and their teams to bring that magic of performance to its fullest possible potential. So many times the opportunities are lost in the logistical heat of battle, in the sheer struggle of shooting the film and getting the shot before they lose the light. If ever a phase of the creation of the motion picture cried out for the discipline and regimentation of a military operation, it is the challenging battlefield of production.

ZAXCOM DEVA 5.8 AND DEVA 16

The Zaxcom Deva series are direct-to-disk digital audio recorders. The Deva was really the first professional field direct-to-disc digital recorder that overcame the sensitivity factor of traditional computer disk recording systems in the later 1990s. This production sound mixer brings a highly durable machine into any location recording scenario.

Front Panel Descriptions

1.	DVD-RAM Drive
2.	CompactFlash Slot
3.	Slate Microphone
4.	Slate Mic Activation
5.	Color Touch Screen: The touch screen display is the main interface of the Deva. Most selections are made and displayed using it. You can use either a PDA stylus or your finger to make selections.
6.	Numeric Keypad and Backspace Buttons: These provide an alternative means of entering numeric data such as timecode, metadata, and equalization values.
7.	Transport Control Buttons: These three buttons provide the Record, Play, and Stop functions.
8.	Function Buttons F1, F2, F3, F4, F5, F6, MENU, and ENTER: Many of the function buttons are used for multiple tasks. When the touch screen display shows the home screen, the function buttons perform the function written above them. In other menu modes, the function buttons can be programmed to perform additional tasks. The MENU and ENTER buttons always perform only those functions.

Figure 20.1 Deva front panel. Photo courtesy of Zaxcom Corporation.

F1	CUE: Displays the Cue or Playback Menu on the touch screen.
F2	C.TAKE: Marks a take as a Circled Take in the metadata file. This button can be pushed either during record or after the take has been recorded but before the next take has started.
F3	FALSE START: Marks a take as a False Start in the metadata file. When this is done, the segment number does not increment when placed into the record mode the next time. This button can be pushed either during or right after the false start record.
F4	TIME CODE: Displays the Time Code menu on the touch screen.
F5	S.T.N.: Displays the SCENE TAKE NOTE menu.
F6	HEADPHONE: Displays the HEADPHONE matrix menu, or the headphone volume if fade 8 is assigned.
MENU: Advances the screen to the next menu. This is the same as touching the status button in any menu.
ENTER: Confirms data entry.
9.	Faders 1 through 8: These are sight hardware faders. They can be assigned to any channel or combination of channels in your Deva. Software faders are available for channels not assigned to the hardware faders.
10.	Headphone volume/Fader 8: When Fader 8 is not assigned to a channel, the fader becomes the headphone volume. When assigned to a channel, the headphone volume is adjustable using the headphone button and the touch screen volume slider.

Figure 20.2 Deva left panel. Photo courtesy of Zaxcom Corporation.

Figure 20.3 Deva right panel.

Left Panel Descriptions

1.	Hard Drive Compartment
2.	USB Port: This port is designed to connect Zaxcom approved keyboards.
3.	Time Code Connector: This is the standard 5 pin Lemo connector used for Time Code I/O (Lemo part number: EGG.OB.305.CLL)
4.	Serial/RS422 connector: This 9-pin connector is used for controlling the Deva using an external device such as the Zaxcom Deva MIX-12 mixer.
5.	Word Clock Output: This BNC connector provides a word clock timing output generated internally from the Deva.
6.	IEEE 1394 (FireWire) connector: This is a FireWire 400 port which can be used with FireWire hard drives, CD, and DVD-RAM drives. If the external FireWire device requires power, it can be turned on from the My Deva menu.
7.	AES Digital Input Connector: Connect the supplied AES Digital input cable to this 15-pin mini sub-D connector. The cable provides four pairs of AES inputs.
8.	AES Digital Output Connector: Connect the supplied AES Digital output cable to this 15-pin mini Sub-D connector. The cable provides four pairs of AES digital output.
9.	Power Switch and LED: When the Deva is powered on the green LED illuminates.
10.	Battery Compartment: The black knob rotates to lock the battery compartment door. Use NP-1 type batteries with the Deva. You can safely use Li-ion and NiMH NP-1 batteries in the Deva as long as their maximum voltage does not exceed 18 VDC.
11.	Power Input Connector: Standard 4-pin XLR connector for 9.5 V-18 VDC 1 Amp input. Note: At this time the REF 1 connector does not function.

Right Panel Descriptions

1.	Mic/Line Inputs, 1, 3, 5, and 7: Each input is electronically balanced and internally padded to handle either mic or line level signals (selected via the INPUT CONTROL menu)
2.	Headphone Output: 1/4-in. Stereo Jack, optimal 100 Ω impedance. Note: Lower headphone impedances result in louder headphone output levels.
3.	Analog Outputs: 1 through 6, 25-pin connector outputs 6 channels of line level audio. Menu selectable to output either channels 1 through 6 or 5 through 10.
4.	Camera Connector: This is a standard 10-pin ENG type camera connector. It outputs channels 5 and 6 to the camera and returns the monitor feed from the camera. Note: The two monitor feeds are summed to mono.
5.	Mic / Line Inputs, 2, 4, 6, and 8: Each input is electronically balanced and internally padded to handle either mic or line level signals (selected via the INPUT CONTROL menu).

Using a keyboard off to the side of the unit, the recording mixer enters the scene, angle, and take data (that show up in the “slate” icon in the upper right-hand corner of the front panel). This entry along with the timecode is embedded in the directory of the audio file itself (metadata), thereby streamlining and removing possible errors by the assistant picture editor later in assimilating the material into the nonlinear editing system being used.

SOUND DEVICES DIGITAL RECORDERS

The introduction of Sound Devices 7-Series recorders in 2004 redefined the category of file-based recorders for production sound. Their extremely compact size and high feature content made them the first product capable of being a legitimate replacement for timecode DAT. While file-based recorders for production sound have been available since 1998 (when the Zaxcom Deva was introduced) their use was limited to only the largest feature films. Sound Devices 7-Series moved file-based recording into the hands of sound engineers recording effects, reality television, episodic television, commercial spots, documentary film and video, and feature film.

The 7-Series recorders were originally targeted to sound engineers working in over-the-shoulder environments. The units’ controls, size, and complement of connectors is more specific to “bag” work versus cart work. Because the recorder is typically used alongside a field mixer, wireless systems, and power distribution in a single production bag, it needs to be as compact as possible. Additionally, only two sides can be used for connectors and only one control surface is practical in bag applications. Other portable products are available with controls on secondary surfaces, but these are less common in portable applications.

Figure 20.4 The Sound Devices 744T multiple channel digital sound recorder, front panel. Photo courtesy of Sound Devices Corporation.

The transition to file-based recording opens numerous options and challenges to the engineer. The 7-Series has much depth in its choices of file type, sampling rate, timecode rate, and file management that tape-based systems never offered.

The Sound Devices 744T is a hardy portable four-track digital field recorder with timecode capability. The super-compact 744T records and plays back audio to and from its internal hard drive or Compact Flash medium, making field recording simple and fast. It writes and reads uncompressed PCM audio at 16 or 24 bits with sample rates between 32 kHz and 192 kHz. Compressed (MP3) audio playback and recording from 64 kb/s to 320 kb/s are also supported. The timecode implementation makes the 744T ready for any recording job-from over-the-shoulder to cart-based production.

The 744T implements a no-compromise audio path that includes Sound Devices’ next-generation microphone preamplifiers. Designed specifically for high-bandwidth, high-bit-rate digital recording, these preamps set a new standard for frequency response linearity, low distortion performance, and low noise. No other recorder on the market matches its size or feature set. In addition, its learning curve is quite short—powerful does not mean complicated. While the 744T is a very capable recorder by itself, it truly excels when used in conjunction with an outboard audio mixer such as Sound Devices’ 442 or 302.

Its two recording media (hard drive and Compact Flash) are highly reliable, industry standard, and easily obtainable. The removable, rechargeable battery is a standard Sony-compatible Li-ion camcorder cell. The 744T interconnects with Windows and Mac OS computers for convenient data transfer and backup.

Left Panel Connectors and Controls

1.	XLR Input 1/AES3 INPUTS 1 & 2: Dual function input connection. Input type set with switch above. Active-balanced analog microphone or line-level input for input 1. Transformer-balanced two-channel AES3 input (1 and 2).

Figure 20.5 The Sound Devices 744t multiple channel digital sound recorder, left panel. Photo courtesy of Sound Devices Corporation.

2.	XLR INPUT 2/AES3 INPUTS 3 & 4: Same as above only for (3 and 4).
3.	Mic-Line-AES3 Input switch: Selects the input level and mode of the associated XLR input connector.
4.	TA3 Channel 3 & 4 Line INPUTS: Active-balanced line-level input connectors. Pin-1 (GROUND), Pin-2 (+), Pin-3 (–).
5.	TA3 Master (L/R) Analog OUTPUTS: Active-balanced, line-level analog L/R outputs for the Master Output Bus. Program source and attenuation level are user selectable. Pin-1 (ground), Pin-2 (+), Pin-3 (–).
6.	Headphone Output: 3.5 mm TRS stereo headphone connector. Can drive headphones from 8 to 1000 ohm impedances to very high levels. Tip (left), ring (right), sleeve (ground).
7.	Headphone Volume: Adjusts the headphone volume. Note: The 744T is capable of producing ear-damaging levels in headphones!
8.	Tape Output: Unbalanced tape (–10 dBV nominal) output on 3.5 mm TRS stereo connector. Signal source is identical to the master output bus. Tip (left), ring (right), sleeve (ground).

Right Panel Connectors and Controls

1.	Time Code Multi-Pin: Timecode input and output on 5-pin LEMO® connector.
2.	AES3id INPUTS 1 & 2 and 3 & 4: Unbalanced digital input accepts two channel AES3 (or S/PDIF) on BNC connectors. Supports sample rates up to 200 kHz.
3.	FireWire (IEEE-1394) Port: Connection to a computer to access the internal hard drive and Compact Flash volumes as mass storage devices. Direct connection to Mac OS (10.2 or higher) and Windows (XP-and 2000 only) computers.

Figure 20.6 The Sound Devices 744T multiple channel digital sound recorder, right panel. Photo courtesy of Sound Devices Corporation.

4.	C. Link IN/OUT: RS-232 protocol interface on 6-pin modular (“RJ-22”) connector for linking multiple 722 and 744T recorders together. Word clock, machine transport, and timecode are carried on the C. Link connector.
5.	External DC IN: Accepts sources of 10–18 volts DC for unit powering and removable Li-ion battery charging. The Hirose 4-pin connector is wired PIN-1 negative (–) PIN-4 positive (+). PIN-2 (–) and PIN-3 (+) are used to charge the removable Li-ion battery. DC ground at both PINS 2 & 3 is at the same potential as chassis and signal ground.
6.	Word Clock INPUT and OUTPUT: Provides clock input and output for the 744T. Word input accepts sampling rates between 32 kHz and 192 kHz. Word clock output is the rate that box is running. There is no sample rate conversion onboard the 744T.
7.	AES3id OUTPUT Bus 2: Unbalanced digital output, two-channel, for output Bus 2. Signal source is menu-selected.
8.	AES3id Master OUTPUT Bus: Unbalanced digital output, two-channel, for the master output bus. Signal source is menu-selected and is identical to the analog master output bus signal.
9.	Multi-Function Rotary Switch: When in the setup menu, the rotary switch moves between menu selections; push to enter selection or enter data. In record and playback modes, selects headphone monitor source; push action is user selectable.

FOSTEX PD-6 DIGITAL RECORDER

The Fostex PD-6 Multitrack DVD-RAM Recorder will record up to 6 tracks of 24-bit audio to an internal 8 cm DVD-RAM disc, or an internal 40 gig hard drive. This much anticipated nonlinear digital recorder boasts many useful features including: BWF recording file format; UDF (Universal Disc Format) which allows DVD-RAM discs to read instantly on both PC and Mac platforms; onboard timecode generator with ±1 ppm accuracy and a built-in pull-up/pull-down switch. This unit handles all timecode rates including 23.976 fps; IEEE1394 (FireWire) interface for fast backup and restore; USB keyboard port; 10-second pre-record buffer.

The PD-6 can also record 4 discrete tracks and a 2-track composite mix as separate files, or 5 tracks of discrete audio and a mono composite. Discs recorded on the PD-6 are instantly compatible with the Fostex DV40, and all files can be played back in a linear fashion, synced to timecode, or controlled via RS-422 on the DV40, making the PD-6 widely acceptable with a growing list of telecine and postproduction facilities.

Fostex PD-6 Front Panel

1.	[POWER] switch: Turns on or off the main power of the PD-6. The switch is fitted back from the panel surface in order not to switch it accidentally. Note: If the [PANEL LOCK] switch is set to the “LOCK” position, you cannot turn off the power.

Figure 20.7 The Fostex PD-6 multichannel digital sound recorder. Photo courtesy of Fostex Corporation.

2.	[SHIFT] key/indicator: This key makes the shift mode active (the indicator is lit) or inactive (the indicator is unlit). If you press a key which provides its SHIFTed function while the shift mode is active, the PD-6 goes into the SHIFTed function which is labeled under the key. To enter to another mode, press the [EXIT] key to quit the mode and carry out the same procedure. For example, by pressing the [CONTRAST/TC SETUP] key while the shift mode is active, you can make settings for recording/playback timecode.
3.	[CONTRAST/TC SETUP] key: This key has primary (unSHIFTed) and secondary (SHIFTed) functions. When unSHIFTed: By pressing this key, you can adjust the display contrast using the [SEL] dial. After adjusting the contrast, pressing the [ENTER] key stores the setting. When SHIFTed: Activates the TC Setup mode, in which you can make the necessary settings for recording and playing back timecode. To exit the TC Setup mode, press the [EXIT] key.
4.	[SETUP/UTILITY] key: This key has primary (unSHIFTed) and secondary (SHIFTed) functions. When unSHIFTed: Enters the Setup mode in which you can make settings for the preferences. To exit from the Setup mode, press the [EXIT] key. When SHIFTed: Enters the Utility mode in which you can make settings related with disks. To exit from the Utility mode, press the [EXIT] key.
5.	[FILE SEL/EDL SEL] key: This key has primary (unSHIFTed) and secondary (SHIFTed) functions. When unSHIFTed: By pressing this key, you can select an audio file from among the files recorded on the current disk using the [SEL] dial. After selecting the file, press the [ENTER] key to confirm the setting. When SHIFTed: Enters the EDL SEL mode. In this mode, you can create and edit an ALE file which should be registered during recording. To exit from the EDL SEL mode, press the [EXIT] key.
6.	[TIME/DISP MODE] key: This key has primary (unSHIFTed) and secondary (SHIFTed) functions. When unSHIFTed: Selects the time display mode from among ABS, LTC, TC IN, and GEN. When SHIFTed: Switches to the mode in which you can enlarge the level display section on the Screen.
7.	[LIGHT] key: Used to turn on the LCD backlight. By pressing the key instantly, the LCD backlight turns on for approximately 3 seconds and then automatically turns off. By pressing the key for more than 3 seconds, the backlight continues to light up until pressing the key again. Note: While operating the PD-6 with the internal battery, Aaton recommend not to turn on the backlight unless it is needed.
8.	[EXIT] key: Used to cancel edit operation or execution, as well as used to exit the setup or Utility mode.
9.	[SEL] dial/[ENTER] key: The [SEL] dial is used to select a menu or enter characters in the Setup mode and other editing modes. The [ENTER] key confirms setting or executes the selected operation.
10.	LCD display: Displays audio input/output levels, settings, menus, etc.
11.	[ACCESS] indicator: Indicates the access condition of a DVD-RAM disk. It lights in green while it is not accessed, in orange while it is accessed for reading, and in red while it is accessed for writing.
12.	[PHONES] jack: Connects headphones. Inserting a plug automatically disables the internal monitor speaker.
13.	[MONITOR] control: Adjusts the monitor level of headphones and the internal monitor speaker. Each press of the control pushes down the control to the same level as the panel or pulls it up. Turning the control counterclockwise until clicked turns off the monitor sound.
14.	SOLO monitor select switch: When the monitor mode select switch (see below) is set to “SOLO,” this switch selects the monitor signal from among any one of the input channel signals (1/M, 2/S, 3 through 6) or either of the stereo bus signals (L or R). Note that, when the monitor mode select switch is not set to “SOLO,” this switch is not effective.
15.	Monitor mode select switch: Selects the monitor mode from among the following. ST Monitors signals selected by the ST/MONO monitor select switch in stereo. MONO Monitors signals selected by the ST/MONO monitor select switch in mono.
16.	ST/MONO monitor select switch: When the monitor mode select switch is set to “MONO” or “ST,” this switch selects the tracks/input channels to be monitored. Note that, when the monitor mode select switch is set to “SOLO,” this switch is not effective.
17.	Alphanumeric keys: While the display shows the normal screen, pressing any of the numeric keys enters the time data edit mode. After editing time data, you can locate to the edited time position. While the PD-6 is in any of the edit modes, you can enter time data or name.
18.	[LOCATE] key: Locates to the desired position in the following ways. 1) While a cue point is selected, pressing the key locates to the selected cue point. 2) While time data is edited, pressing the key locates to the edited time position. 3) While the display shows the normal screen, pressing the key locates to the previously located point (the default setting is “ABS 0”).
19.	[CLEAR] key: Pressing this key functions as follows. 1) While entering characters: Erases the next character on the right of the cursor position. 2) While editing time data: Clears time data and sets it to “00 h 00 m 00 f 00 sf.” While the “Peak hold” setting menu in the Setup mode is set to “f”: Resets the peak level indication on the level meters.
20.	[SKIP/CURSOR] keys: These keys function as follows. 1) While the display shows the normal screen and the skip mode is set to “File”: Pressing the (or) key skips to “ABS 0” of the previous (or next) audio file. You can skip to “ABS 0” of the desired audio file by pressing the appropriate key as many times as required. 2) While the display shows the normal screen and the skip mode is set to “Cue”: Pressing the (or) key skips to the previous (or next) cue point. You can skip to the desired cue point by pressing the appropriate key as many times as required. 3) While editing time or a label in the edit mode: Pressing the (or) key moves the cursor to right (or left).
21.	[CUE] key: This key functions as follows depending on the recorder condition.
During recording: By pressing this key during recording, the current position data is stored as a cue point “on the fly.” The data is entered into the next available cue point.
In any condition except during recording: Pressing this key brings up the cue point list, where you can check the cue points which hold data. You can also locate to the desired cue point, edit the cue point data, and perform cue point entry.
22.	[CIRCLE TAKE] key: Adds “@” to the beginning of the name of the current audio file. If the name of the current audio file already has “@” at the beginning, pressing this key deletes “@.”
23.	[STANDBY] key/indicator (green): During recording or playback, pressing this key pauses the recorder and lights up the [STANDBY] indicator. Only this key can stop recording. You cannot stop recording with any other key. You can set the pause release time using the “Pause time” menu in the Setup mode. This key also can be used to clear an unsuccessful audio file you made last time. By pressing the [STANDBY] key while holding down the [CLEAR] key and then pressing the [ENTER] key, the last recording is canceled and the audio file is cleared. Note: The recorded timecode depends on the [TC GEN] select switch setting.
24.	[REC] key/indicator (red): Pressing this key starts recording. Depending on the file format type (Normal or Tape) and “PRE REC mode” setting (on or off), it works as follows. 1) When recording to a disk formatted in the Normal mode: Pressing this key automatically creates a new file and starts audio and timecode recording. The offset between the timecode and ABS time values after a second from the beginning of recording is also recorded. 2) When recording to a disk formatted in the Tape mode: Pressing this key starts recording onto the current file from the current position. 3) When recording with the PRE REC mode set to “ON”: Pressing this key starts recording from the audio data stored in the buffer. The offset between the time code and ABS time values after a second from the beginning of recording is also recorded. You can select the buffered time among 1 and 10 seconds using the menu in the Setup mode (the default setting is 10 seconds).
25.	[SLATE] microphone: This internal slate microphone is active while you slide the [SLATE] switch knob to the “MIC” position. The microphone level is automatically controlled by AGC (Automatic Gain Control).
26.	[SLATE] switch: While sliding the switch knob to the [TONE] position, the slate tone is output. While sliding the knob to the [SLATE] position, the internal slate microphone is active. While sliding the switch knob to the [TONE] position, the slate tone (at 1 kHz, reference level) is fed to all tracks and stereo busses. During recording, you can record the slate tone. The slate microphone signal is fed to all tracks and stereo busses. By sliding the switch knob to the [MIC] position during recording, you can record the slate microphone signal.
27.	[JAM] switch: Used to execute the jamming function. When this switch is set to “ON” and the PD-6 is receiving external timecode, the internal timecode generator takes over (jams) timecode. Note that the jamming function is only available when the [TC GEN] mode switch is set to “FREE RUN.” Depending on the “JAM mode” menu setting in the TC Setup mode, the PD-6 jams the timecode user bits regardless of the [TC GEN] mode switch setting.
28.	[PRE REC] switch: When this switch is set to “ON,” recording starts from audio data stored in the buffer. The buffered time can be set using the “Pre rec time” menu in the Setup mode.

Figure 20.8 The Fostex PD-6 multichannel digital sound recorder, front panel functions. Photo courtesy of Fostex Corporation.

Figure 20.9 The Fostex PD-6 multichannel digital sound recorder, left panel functions. Photo courtesy of Fostex Corporation.

29.	[DISC FEED] switches: Each switch selects a recording source of corresponding track. Channel pre-fader signal is selected. Stereo bus (L or R) signal is selected. The “L” signal can be assigned to the odd tracks, while the “R” signal can be assigned to the even tracks. Channel post-fader signal is selected.
30.	[PEAK] indicators: Each indicator lights up according to the input level of the input amplifier. Lights in green: The input level is between –1 dB and –5dB of the clipping level. Lights in red: The input level is between 0 dB and –1dB of the clipping level. By setting “Input Clip” in the “Error tone” menu of the Setup mode to “On,” the error tone is output from the monitor speaker (or headphones) whenever the corresponding input channel receives a loud signal which makes the indicator light up red.
31.	[PFL] keys: By pressing a [PFL] key, you can hear the pre-fader signal of the corresponding channel from the internal monitor speaker or headphones. When any of the [PFL] keys is pressed, the pre-fader signal takes priority to the signal selected by the monitor selection switches (SOLO monitor select switch, Monitor mode select switch, and ST/MONO monitor select switch).

Fostex PD-6 Left Panel

1.	[ANALOG LINE OUT] connectors: These connectors feed analog audio signals of tracks 1 through 6. Connectors: XLR-3-32 type (balanced).
2.	Internal monitor speaker: Outputs track audio signals, error tones, etc. When a headphone plug is inserted to the [PHONES] jack, the monitor speaker is inactive.

Figure 20.10 The Fostex PD-6 multichannel digital sound recorder, right panel functions. Photo courtesy of Fostex Corporation.

3.	[AUX I/O] connector: The input ports of the [AUX I/O] connector receive audio signals and route them to the monitor circuit, while the output ports feed stereo bus signals. You can select the output level from among three options using the [AUX OUT ATT] switch.
4.	[AUX OUT ATT] switch: Switches the output level of signals sent from the output ports of the [AUX I/O] connector among +4 dBu, –10 dBu, and –60 dBu.
5.	[REMOTE] connector: This connector accepts parallel remote signals for controlling the PD-6 externally. Connector: MINI DIN 8-pin. You can control the following nine operations remotely. Operation note: When a terminal is grounded, the function is active. Note that you can always control the PD-6 via this connector regardless of the setting of the [PANEL LOCK] key on the panel. Caution note: Pin 7 (DC 12 V) supplies the PD-6 operation voltage. If it is short-circuited to GROUND, or used with a heavy load, the PD-6 internal battery life may be exhausted faster or the PD-6 may generate heat abnormally. Be careful not to use it with a heavy load or short-circuit it to GROUND.
6.	[USB] connector: Used to connect to a USB keyboard, allowing you to control the PD-6 from the keyboard.
7.	[EJECT] lever: Used to remove the internal battery (NP-1 type) from the battery compartment.
8.	Battery compartment: Stores the battery (NP-1 type).

Fostex PD-6 Right Panel

1.	[ANALOG MIC/LINE INPUT] connectors: These connectors receive analog audio signals (mic or line level), which can be sources of channels 1 through 6. Connectors: XLR-3-31 type (balanced).
2.	[DC IN 12 V] connector: Connects the AC adaptor (Model AD-15C) or an external battery. Connector: XLR-4-32 type.
3.	[POWER SEL (INT/EXT)] switch: Selects the power supply source for the PD-6. When “INT” is selected, the PD-6 runs with the internal battery (NP-1 type). When “EXT” is selected, it runs with an external power supply.
4.	[DC OUT] connectors: Each connector outputs DC 12 V power. You can supply power to up to two external devices.
5.	[TIME CODE OUT] connector: Outputs timecode. Connector: XLR-3-32 type (balanced).
6.	[TIME CODE IN] connector: Inputs external time code. Connector: XLR-3-31 type (balanced).
7.	[WORD IN] terminate switch: Terminates the word input signal by setting the switch to “ON.”
8.	(Blank cap for installing the option): This part is reserved for installing the optional AATON.
9.	[WORD/VIDEO IN]/[WORD OUT] connectors: The [WORD/VIDEO IN] connector receives word or video clock. It automatically detects the clock type (word or video). The [WORD OUT] connector feeds a word clock. Connectors: BNC type.
10.	[DIGITAL I/O] connector: Receives and feeds AES/EBU or S/P DIF digital signals. Connector: 25-pin D-sub connector. You can make AES/EBU or S/P DIF selection using the menu in the Setup mode. The pin assignment is compatible with the 25-pin D-sub connectors provided on the Fostex 8350 and Yamaha equipment.

AATON CANTAR-X DIGITAL RECORDER

The Cantar-X features the ability to record up to 8 discreet tracks of 24-bit/96 kHz audio to either an internal 60 gig hard drive or an external hard drive or optical drive via its built-in 6-pin FireWire connector providing over 57 hours of 2-track 48 kHz/24-bit audio and over 7 hours of 8 track 96 kHz/24-bit.

Figure 20.11 The Aaton Cantar-X multiple channel digital sound recorder, front panel. Photo courtesy of Aaton.

Any one of the Cantar's 5 transformer balanced mic-pres, 4 analog Line level, or 8 AES digital inputs can be routed to any track, or multiple tracks, quickly and easily in Cantar's intuitive routing input menu. Changes to routing or monitoring can be achieved on the fly by recalling custom presets that are stored in its nonvolatile memory. Phantom power, limiters, phase reverse, and an adjustable hi-pass filter are switchable for each microphone input. A stereo mixdown of the discrete tracks can be recorded as a separate file and/or routed to any of the Cantar's two adjustable line level analog outputs, AES digital output or headphone matrix.

A unique magnetic fader panel is provided for creating the stereo down-mix in the field and for controlling pan and PFL solo checking for each track. The stereo mixdown file, the discrete tracks, or all can be burned at the end of the day to either an optional internal optical drive or an external FireWire drive, and the Cantar allows you to choose between CD-R, DVD-R, or DVD-RAM formats so your resulting discs will realize a wide cross-platform compatibility in the postproduction environment.

The Cantar interface is the easiest to use in the most difficult missions. It offers the largest display surface of all portable recorders which simultaneously show every critical recording parameter. The custom designed high contrast LCD displays remain visible under bright sunlight and at very low temperatures; and the swiveling front panel always offers the best viewing angle for both cart and over-the-shoulder work.

Figure 20.12 The Aaton Cantar-X multiple channel digital sound recorder, top panel. Photo courtesy of Aaton.

Figure 20.13 The Aaton Cantar-X multiple channel digital sound recorder, the jog wheel functions. Photo courtesy of Aaton.

The 3-Crown Turret

Monitoring crown:

1.	So: 5 Mic inputs, 4 Line inputs, 6 Digi inputs, and active tracks are sent to the headphones as “solos.”
2.	Ph: mixer output and 17 users’ grids to headphones.
3.	Lo: mixer and 9 users’ grids to dual line-out.
4.	Fb: mixer and 9 users’ grids to dual foldback.
5.	Di: mixer and 9 users’ grids to dual digi-out (AES). Note: The headphones receive the same signal as the one sent to the output being configured.

Config crown: In TEST and PPR, push the Solo-Mix-Pan slider battery side, press the routing button (top left of the swivelling panel), and rotate the config crown to browse the 15 Input-to-Track configs and to activate the one showing while the routing button is released. In REC, push the Solo-Mix-Pan slider battery side, press the routing button to verify the Input-to-Track configuration in use. Note: To avoid finger errors, the current configuration cannot be modified in REC but there is a shortcut: by switching to PPR you have plenty of time (up to 35 seconds) to select another configuration and go back to REC. This operation creates another file and does not lose any audio sample between the two. In REC, pull the Solo-Mix-Pan slider operator side, and press the routing button to turn the three circular screens into a large Mon-Outs “Left-Center-Right” display. Since this doesn't affect the recording signals, you can on-the-fly listen to and select another monitoring pattern by rotating the Config crown.

Jog crown: The “one finger” jog is used to move the cursor in the message panel, to edit Scene&Take, to select high-pass filters, to modulate the backlight, to control the pan pots, and to scrub the player in fast forward/reverse. Note: [Shift•Jog] 10x accelerates the jog speed.

The Main Selector

The large twelve position Main Selector eliminates diving into sub-directories, and because the unique three-crown turret gives instant access to all recording and monitoring configurations, even with gloves on.

Six “sound managing” positions: •REC •PPR •TEST •STOP •PLAY •BROWSE, laid out in the standard way.

Six “operand” positions: •MON-OUTS •ROUTE-INS •AUDIO •TECH •SESSION •BACKUP, give access to all the possible settings of the machine. The black, white, and red buttons are made for the thumb; they work together with the large blue key [shift] activated by the index.

IN TEST PPR REC:
[white] (reserved to insert prelocating marks).
[shift • white] in PPR opens/closes the editing pane.
[black] sends slate mic to line-out and foldback.
[shift •black] sends slate mic to tracks too.
[red] in PPR &REC toggles the take gender: “p” (pickup), “w” (wild sound), “t” (sync), “n” (ignore).
[shift • red] triggers the tone generator; tone stays “on” if SHIFT is released first.

IN PLAY:
[white] stops and starts the player from the marker.
[black] puts a start mark on the played position (to make a pause, press
[white] then [black]).
[shift • black] resets the player to 00.

IN INPUTS-TO-TRACKS & MON-OUTS:
[black] sets routing links, e.g., mic-in 3 to track 5.
[red] erases routing links.

Nine rotary analog faders plus six linear digital faders each entirely devoted to one specific task give more possibilities and are faster to handle than four multifunction knobs. All of Cantar's rotary knobs, faders, switches, and the enclosure itself are sealed against the elements to guard against damage caused by dust and moisture. Aaton's optional 12-volt rechargeable and re-cellable NiMH batteries connect to the Cantar via its dual 4-pin XLR DC inputs, providing up to 15 hours of autonomous operation in the field.

Figure 20.14 The Aaton Cantar-X multiple channel digital sound recorder, top view.

Figure 20.15 The Aaton Cantar-X multiple channel digital sound recorder's signal path. Photo courtesy of Aaton.

The Twin Battery Safety

The Cantar low power requirements-to-high efficiency electronics have the longest working time of all portable recorders. With a single set of onboard (NiMH) batteries, the Cantar works 15-to-18 hours easily.

External 12–16 V DC can also be used, maintaining compatibility with most common DC packages. An optional Bluetooth module provides two-way communication between the Cantar and a Bluetooth-enabled PDA to vividly display all of the Cantar's settings at a glance. The Aaton Cantar records Broadcast Wave files which can be directly imported to most popular editing systems.

Routing 15 Inputs to 8 Tracks

Six primary tracks, T1 through T6, can receive any one of the 15 independent and permanently active inputs: line 1, 2, 3, and 4 – mic inputs 1, 2, 3, 4, 5, Digi (AES) 1, 2, 3, 4, 5, and 6. Fifteen Inputs-to-Tracks configs can be stored. They are instantly recalled through the swiveling panel routing button and the “config” crown (a one-hand operation). The primary tracks are monitored by pairs T1T2, T3T4, T5T6 on the circular screens. Two eXtra tracks (Xa Xb), receive the reference sounds out of the built-in digital mixer. These reference sounds are clearly separated from the T1 to T6 primary tracks: they are displayed on the rectangular display bar graphs. They also can be displayed on the rightmost circular modulometer by pressing the [EYE] button. When the “Xa” “Xb” track pair is generated by the mixer, they are sent to tracks 7 and 8 and a “mix” icon shows on the circular displays. When recording 8 tracks and no mixdown, the 1 to 6 tracks are routed the standard way and the 7 and 8 tracks directly receive the signals selected in AUDIO-12: Line-in 3 and 4, or Mic3 and 4, or Aes-in 7 and 8, or nothing (this later position saves disk space).

Figure 20.16 Production sound mixer Petur Hliddal strapped into the truck as he tackles the grueling task of capturing a clean production track on location for Syriana. Carl Fischer, boom operator.

Petur Hliddal, veteran sound mixer for such diverse styles of productions as Lucky You, The Aviator (2004 version), Big Fish, Divine Secrets of the Ya-Ya Sisterhood, Planet of the Apes (2001 version), and The Cider House Rules, talks about using the Cantar X on the challenging shoot of Syriana:

I just finished work on Syriana, an ambitious globetrotting thriller involving five parallel stories, which intersect and diverge, all related to the international oil business. We shot dialog scenes with two hand-held cameras, frequently with no lighting, in self-driven cars, boats, elevators, airplane cabins, and one 600’-long supertanker. This was in addition to the usual assortment of inaccessible locations—rooftops, schoolrooms, desert hideaways, odiferous Moroccan kebab shops, Pakistani construction workers’ shantytowns, desert power transmission line towers. Many of these locations were located far from the work trucks, on rough ground or sand, necessitating our using small departmental 4 × 4 pickups for equipment transport and storage.

At times the scenes we shot were loosely scripted or improvised and it was not unusual for us to be running four or five wireless mics together with M-S ambience tracks to help with uncontrolled backgrounds. When you are shooting far from trucks or carts, and the camera crews are hustling from moving car interiors to exterior drive-bys and back, shooting as fast as they can shoulder the camera and push the button, you have got to be light, fast, and flexible to keep up. The Cantar X could not have been more perfectly suited to the production problems I had to face and I could not have done nearly as good a job without it.

Our data traveled in two ways. When working on the cart, I mirrored the Cantar hard drive with a LaCie D2 DVD-RAM, which I shipped to the lab for warehousing. When over-the-shoulder, I used LaCie 60 GB pocket drives stuck in a carry-case pocket. These were shuttled between the lab where DVD-RAM copies were struck for warehousing, and our locations, where we reused them as needed. In addition, each weekend I loaded the Cantar drive to LaCie 120 GB hard drives on which I maintained a second file warehouse on location.

Figure 20.17 Production sound mixer Stuart Wilson (center) using three Cantar X recorders simultaneously to cover all of the wireless mics and ambience booms for the 2006 production of Marie Antoinette. Photo by Stephane Lioret, boom operator.

I have now completed two films with the Cantar X and I have to say for the first time since the “digital revolution” in film sound began, I feel I have stabilized my format decision-making.

Stuart Wilson, production mixer for projects such as Harry Potter and the Order of the Phoenix, The Constant Gardener, A Cock and Bull Story, Code 46, The Last Dreamers, The Intended, Room to Rent, Born Romantic, and The Last Yellow, to name just a few, shares his experience working with the Cantar X:

I'm just starting my next feature with the Cantar X and I think it's fantastic! From The Constant Gardener in the heat and dust of Northern Kenya and Sudan to the rain back in Europe, the faders and knobs are well sealed and have coped with a lot of rough treatment.

It's definitely enabled me to do things I wouldn't have been able to do otherwise; mostly for those running-around shots where one has to be portable, I've been able to have a boom and up to 5 radios and mix on the shoulder.

The latitude one has is very good; the self-noise is very low and the headroom very high, so much so that I'm getting a bit lazy having left some of my old analog gain riding technique to keep the signal within a healthy range as I know the recorder can cope with it.

On The Cock and Bull Story, the last Michael Winterbottom film, I was recording a scene with muskets and cannons and a crowd of extras: I set the levels so that the explosions wouldn't overload and recorded a couple of takes, but then you miss the value of having all those extras shouting in the heat of battle, so I decided to do a take with levels set for the crowd and I would let the explosions go over (thinking it is easier to add a cannon shot in post than recreate 200 screaming soldiers in the studio!). The crowds were sounding good and then the explosions started and the Cantar wouldn't distort! There was a good 30 dB difference in the levels I'd set and it sounded great! The limiters are incredible.

I had this interview with Bertolucci. He said he didn't want to post-synch (loop) anything, and he said that he wanted to shoot it in a real Paris apartment. I immediately asked him, “How is the floor?” Because I knew that all the apartment buildings in Paris use these parquet floors.

Then he answered, “Well, the floors in these Paris apartments, they have their own voice.”

I replied, “But we don't want that voice to become a character in the film.” So then I turned to the production manager and said, “I want to see the location.”

The production manager replied, “Well, you can't come. It's not finished yet and the art department is still doing stuff.”

I agreed, “Yeah, exactly that, when it's finished, it's too late! After all, the art department has done their stuff, dressing and everything. I have to be there before and see if there is anything we can do about any problems, and if we can, can they be worked into the schedule.”

The production manager tried to keep me away because he thought it was going to cause trouble or cost money. I wrote them an email and said that it was up to them—if I'd just arrive on the location site and it's already a fait accompli, then I cannot be held responsible for the sound. I will deal with what I could, and if that wasn't what they wanted, then that would be just fine! But if they wanted me to take the responsibility for the sound, and that is the way I prefer to work, then I needed to see the place to see if there was any preparation that needed to be done, or what could be done and what was practical. Obviously, they had to budget it, but I can give my proposals and then it's up to the producer and director.

Then they got nervous and said, “Okay, can you come tomorrow?”

So I went to Paris from my home in London and recommended some things. I said that they should double-glaze all the windows and they did it. In the main bedroom, where a lot of dialog was taking place, I talked to the production designer and he was thinking maybe he would have carpet on the wooden floor, and eventually, I was not only able to persuade him to have carpet in this room, but to lift the carpet out and lay a new wooden floor on top of the old creaky one and then put the carpet on top of that. That really helped us a lot!

An argument used in the defense of leaving a location the way it is, is that when the actors move around and it's creaking, then it's lifelike and it's natural and it can be nice and atmospheric. But the problem is, if the camera moves like when we had a Steadicam operator moving and the actors are still, then it's ridiculous and you can't use it because you just become aware of the camera and who's behind the camera.

The art department was very good. If they have two or three weeks to make some changes, screwing down floorboards, fixing door frames that don't fit properly or window frames that don't close properly, then they can do it. They can get a carpenter in for one day. It's not really a big expense. They can do it as long as they have the time to do it. If they don't have much time (e.g., if I'm not brought in until the last minute) then it's stress for them and everybody is busy and then it's a problem.

In the end they were very happy and toward the end of the shoot the French production manager came to me and said that he was very impressed because I'd been very clear and that the director was very pleased with the sound; in fact they only looped one scene, so it was worth the gamble of making myself unpopular during preproduction so when it came to shoot the prep work was done and we all could concentrate on trying to get quality rather than just getting something just usable.

THE ULTIMATE GOAL AND CHALLENGE

The challenges of production sound recording make it a difficult and arduous job. The production mixers and their teams face the daunting and often disheartening struggle with the ignorance factor of the producer(s) and director and their lack of personal empowerment by not knowing what is possible and what preparations and techniques can most efficiently accomplish the mission. If they do not understand what is possible (and they will not understand that unless you have at least certain tools and procedural protocols), and if they do not understand the importance of what “quiet on the set” really means, then how can they hope to deliver what is truly possible? How can they dream to deliver the magic opportunities of production sound?