Just in case anyone was wondering, I thought I’d outline my typical 664 workflow as it relates to media management.
The Sound Devices 664 is kinda particular about the media cards that it likes, and while SD and CF cards are quite common, there are only a handful that work in the 664. For this reason, I never release my cards at the end of a shoot… I wait while the DIT copies them to a hard drive. If there’s no DIT working on the set, I’ll copy the files myself to whatever is available. It’s fairly rare for a photographer or producer to show up without a computer, but I always try to bring mine along, just in case.
When I first bought my 664, I went out and bought three of each… three 16GB Delkin CF700x UDMA6 CompactFlash, 105MB/s read, 67MB/s write, and three 16GB Delkin SD163x Class 10 Secure Digital, 24MB/s read, 17MB/s write. I also picked up an inexpensive card reader and a case for the cards. One thing you DON’T want to do is use cards that are not on the list of approved media for use by Sound Devices. Go to their website, the list is updated every so often.
I have my 664 set to record the day’s audio files mirrored, so that each card has identical audio files. I use the SD card to transfer the data. It’s difficult to get my fat fingers around the edges of the CF card, plus the CF slots are a little more delicate… I’ve already bent a pin on my card reader, and if that happens on the 664 then it’s back to the factory for a very expensive repair. So the CF card stays in the machine, and I treat it like an internal drive most of the time unless I get some sort of data error on the other card (hasn’t happened yet, knock on wood!)
Transcription recordings are always the fly in the ointment. These are often requested as MP3 recordings with linear timecode on one channel, and audio on the other. It’s possible to do this internally with the 664, but you’ll need a special cable and an open channel. If you patch the timecode out to, say, ch6 input, then you can assign that signal to whatever card will record the MP3. Because, I’m such an old fart, I’ve always been a bit nervous about doing it this way. Back in the day, we had lots of trouble with linear timecode signals bleeding onto other tracks, as it’s generally very hot. If this happens to the main audio tracks, then you’re screwed.
Alternatively, you can use an entirely separate recorder, and that’s how I did it on a recent shoot. I used my Sony PCM-10, and built a special cable for it. The cable has a 3.5mm stereo plug on one end, and the other has a fanout with a single 3.5mm plug and a BNC connector. The BNC gets the timecode and the 3.5mm goes to the 664 tape out. If the cable is built normally, then the timecode signal will be really hot while the audio signal will be really low. I added a teeny resistor inside the connector shell to drop the level of the timecode signal, and get the levels on each channel to match a little more closely. It worked like a charm.
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