I've moved up to a Sound Devices 552 field mixer (from my old Shure FP33) and I'm loving it! Loads of connectivity and features. It has TC input, meaning it supports time code, but does not generate it. If I want to get started with integrating TC into my gear, what sort of outboard units are recommended? I'll likely be buying used equipment to save a few bucks, but I'd like to invest in a unit that is stable and reliable enough that I won't outgrow its usability any time soon. What will I need to get started? Feel free to post links to forum discussions, product reviews, tutorials, pictures if your own rigs, etc. Thank you kindly for your insights and expertise! -Carl Welden, Location Sound. Freelance boom-op, sound mixer Based in New York's Hudson Valley
If anyone wants to reach out in the real world, my contact info is available here in my resume/gear-list: https://docs.google.com/document/d/1KxKliQiY_Q6fFzLMy4WH-K_NdZu82IlKpvn9... Thanks in advance!
1 person likes this
(Sound of crickets)
1 person likes this
You might be the only sound guy on this board. The (stage 32) world is your oyster.
1 person likes this
The world is my oyster, yes, but where are the pearls of wisdom?
Doesn't the timecode, the sync, come from the camera? Don't you sync both the slate and your recording device to the camera?
Probably depends on the camera. I'm guessing some units can independently generate time code, or receive it. How I get that code into my recorder is the question. Do I need a device that can jam with the camera once a day, or a constant connection?
1 person likes this
Don't know.....I'm just a spark. I've been hanging with the sound guys on most shoots, asking lots of questions about their gear and how it operates. That's something I've never asked. My guess is that you'd initially sync, probably via some type of communications cable.
1 person likes this
Wired TC connections that are jammed a number of times during the day is common. Clockit boxes are a wireless alternative that are used a lot. Exactly what is used has some regional and type of production variations. Might want to ask a few of the audio and camera rental houses in your area for what is popular.
3 people like this
Hey Carl, I also have a 552. Great mixer. You need to get a cable,(CT-PTC-318 at B&H ) Timecode In Cable. that is TA3 female to BNC Male. You will also need a BNC barrel adapter to change the sex to female and keep it with the recorder . You should also get a BNC cable the get timecode from camera. I always carry an extra just incase, should be either 15 or 25 ft. When you set the timecode to timestamp your audio and have a good timecode connection, you will get a solid blue light. The 552 will start recording and stop as the camera does. You should always run on battery power because if the 552 loses power while you are recording, the file will be gone. Funny, you see the rarity of soundmen that go on video message boards. Once you get good, everyone will use you.
I wish STAGE32 had a dedicated forum for location sound...all I could find was one for "Crew" so here we are, buried amongst all the rest. Glad to be getting some input though! I think I am going to get a Denecke SB-3 time code reader/generator, which has BNC and 1/8" jacks. I can probably build my own BNC to TA3F cable...I have a dozen connectors of each.
1 person likes this
Often, sound provides TC to the slate via wireless audio. Personally, I prefer to send audio to my 3 cameras for a more accurate sync in post since 3ms can be noticed, which is about 1/10 of a frame.
1 person likes this
Yes, I usually send audio through wireless camera hops, just so they have a scratch track to sync to. It's just that some job postings have listed a need for time code. My logic being that if I have TC available, then there's more gigs I can say yes to.
1 person likes this
Carl, Since I mostly freelance, I do a lot of corporate work in NYC and metro area. It is kind of my day job. I usually do remotes when I use the SD 552. The cameras are usually jammed TC together and I take a TC feed into the mixer and I record onto a sd card. I feed all careers, IF there is ever a problem with the audio on the camera, I always have a backup. I label and hold onto them for a while. Usually, about once a year, I will get a call asking me if there is any chance that I recorded the audio. I have one producer that likes a timecoded script from a transcription company. I will down covert to mp3 and or just record in a higher mp3 with TC stamp and email it at the end of the day. it does help to keep me getting hired back.
Well, I won a Denecke SB-3 in an auction. Once it arrives, I'll hit my soldering bench and make some cables.
My Denecke SB-3 arrived in the mail today. So, like I said, the first step will be to start building various BNC cables for reading and jamming timecode between recorders and cameras. I did download the Denecke "TC Toolbox" app, which easily jammed with the SB-3 via my phone's 1/8" headphone jack. Off to a good start. Stay tuned!
UPDATE: Success! Rather than buy the $40 BNC to TA3F cable, I made my own for about $3 bucks. The blue LED timecode indicator (see photo) is lit and I can now offer sync sound. Achievement Unlocked!