Re: Yamaha 01V96V2 - mod. for DC power and direct outs

Many thanks for your time explaining your setup that's very helpful,
the speed/repatching/robustness reasons makes a lot of sense.

I see the 01v96v2 is specced as needing 90watts have you noticed if it makes
much difference when unused input channels are turned off?


"Rainman" <rainier_au@xxxxxxxxx> wrote in message
news:1186542928.794953.105290@xxxxxxxxxxxxxxxxxxxxxxxxxxxxxx
On Aug 7, 6:40 pm, "Joaquin" <JoaquinMe...@xxxxxxxxxxxxxxxx> wrote:
Many thanks for all contributions and to Rainman for details of setup - I
also have a 744T so that's good to hear how you use one or two 744T's but
why do you sometimes choose analogue routing to a single 744T rather than
using four of your eight digital outs?

Also with two 744T's how do you manage track/scene naming and how do you
deliver rushes please?

Also a question about powering do 4 x 13a/h (156 watt x 4 = 624 watts?)
only
last you 12 hours - that seems quite a lot and what do you do on 14 hour
days? -:)

thanks

"Rainman" <rainier...@xxxxxxxxx> wrote in message

news:1186464887.174319.305180@xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx

On Aug 4, 12:05 am, "Joaquin" <JoaquinMe...@xxxxxxxxxxxxxxxx> wrote:
I'd be grateful for some information on the following please (I've had
a
go
at reading the manual about direct outs but I've not been able to
arrive
at
a comprehensive understanding of what's available) -

How many direct outs can the 01V96V2 give (all pre or post fader, pre
or
post EQ, digital or analogue?) and from what connectors and where on
the
panels or using an expansion card?

Is it possible to modify the 01V96V2 for DC powering and if so who
might
do
this please?

Thanks

The O1V96V2 is a fantastic desk, you all know it is true! I have two
expansion slot cards, the MY4-DA which provides four XLR analog
outputs and the MY8-AE96 which gives me 8 AES/EBU (AES3) digital
outputs running at a minimum 24bit 48kHz. I use a Sound Devices 744T.
So, If I am using a analog set up, the four Omni outputs become the
main bus out to the 744T, IE only using four of the avaliable eight
buses out. The MY4-DA card is my auxilury out, so I have four Aux
sends to play with, private channel boomie, public send for directors
ect and another two spare perhaps for M-Box playback or a camera send,
whatever?
For a digital set up, swap cards to the MY8-AE96 which gives you eight
AES/EBU (AES3) sends, usually to two Sound Devices744t's time of day
locked. The four omni outs then become your aux sends, and guess what,
you have got four of them again! Beautiful.
I realise that the instuction manual is a bit intimidating, but if you
use those little Post It notes and write stuff like "Digital Inputs
and Outputs" and stick it to the top of page 71, you can find sections
very quickly.
As for your AC/DC convertor, I have four 13amp batteries, two per
pelican case, wired so there is 'Y' cable going into a 500watt
sinewave invertor. I get about 12 hours per day and charge over night.
Sorry for my spelling, its not great. I wanted to buy a Cooper 208,
but I got the Yammy instead. I think it is great everyone should have
one! One more thing if anyone has a problem with clocking, the Yamaha
becomes the master clock and the Sound Devices 744's slave without a
hitch, look at page 40, This has all the digital clocking info you
will need!

Hello Joaquin,
I only own one 744T, so when I am working on a feature I have the
yamaha and 744T set to run in analog. This is because the 744T and
Sound devices 442 portible mixer sit together in Portabrace bag on top
of the trolley. This is to facilitate a quick repatch so I can go
portable very quickly and come back to the trolley and Yamaha and
repatch quickly. I find the pace of shooting has increased, hence I
have to be flexible and capable of keeping up with the demands of the
shoot.
I run the Yamaha in digital, usually when I am doing a studio based
eight track record which does not mean lots of location moves. I
usually hire in another 744T and sit it in place of the 442 mixer. The
D-Sub 25 pin plug (in my opinion) looks a little fragile, and I would
hate it to get damaged. Look I understand that running your desk
analog or digital is not for everyone, its just that that XLR and
balanced jacks are more robust and suitable for everyday patching
rather than the D-Sub 25 pin digital plug.
As for your question about track and Scene naming on two 744T's, this
is actually quite straightforward. Assuming that you have both 744's
timecode locked on time of day, one is master and one is slaved. They
are in timecode sync. In this mode the slave 744t will not
automatically record when the master 744 record button is pressed, so
you have to press record twice. (If both units are in record run
timecode mode the slave 744t will auto record due to the change in
timcode on the master.) Basically you set the scene and slate number
and the take number advances each time you press record and stop. You
just change the scene and slate number on each machine.
I'm not quite sure what you mean by track names, as the tracks are
A,B,C,D in a polyphonic file and I don't know how you change those
names in the 744T?
Delivering rushes is a bit complicated, Say for example I was doing a
eight track 24bit 48Khz record using all eight tracks, every take, all
day. Each 744T was connected to a Mac laptop at lunch and wrap and
takes were downloaded into a file. Then each file was dumped onto one
portable hard drive shared from each computer. The problem was that
each daily file form each 744T had the same name, so we put a letter
'A' in front of the file that had tracks 5-8. This was so that the
editor could distinguish between tracks 1-4 and 5-8 (hopefully!) You
may ask why didn't you just burn a DVDr (not DVDRAM) on your Laptop.
Normally I would just burn a DVD of the days rushes, but this type of
recording creates more data than would fit on a 4 gig DVD or Compact
flash card each day. Then we discovered that the Editor was using
Final Cut Pro 5, which doesn't import the timcode data. Don't get me
started on Editors, consequently they upgraded to FCP 6 which
seemlessly imports .wav files timecode and all.
As for powering I work a 10 hour shoot day in Australia and I over
spec'd my power requirements so I would have enough power to run for
about 12 hours. This is so I can power solo all day without mains or
generator power. Then when over time is called, I know I would have
enough power to last an extra couple of hours a day if it is needed.
So yes, I have more power than I need.




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