Tag: 788T-SSD

788T Time-of-Day Battery Replacement

788T, top view, placement of golf tee screws and panel screws to remove for disassembly

Disassembly

  • Observe standard practices and precautions when working with electronic assemblies.
  • Work in an ESD safe environment. Ground yourself, tools and equipment to prevent damage from static discharge.
  • Remove and/or disconnect power sources from equipment such as AC Adapters and batteries. Allow circuits time to drain any stored charges.
  • Disconnect inputs and outputs to prevent connector damage during disassembly and assembly.
  • Use proper, well-maintained tools.

Note: After servicing the unit, re-assembly should be aided by scrolling through these slides in reverse order to be certain that no small items are missed.

Time-of-Day Battery Replacement

1. Remove two golf tee screws (P/N 1141) and seven long panel to panel screws (P/N 1549).

2. Carefully turn the unit upside down while holding the top panel securely in place.

3. Remove four flat head screws (P/N 1141).

4. Lift the bottom panel off. The all-around assembly fits snugly in a gasket channel cut into the bottom panel. With the screws removed, some force may still be required to separate the panel from the all-around. Do not pry the panel or all-around assembly with any tool. Damage to the mating surfaces will prevent proper reassembly and may result in RF leakage.

5. The TOD coin cell battery is probably secured in-place with a dab of hot melt glue. Brushing on a bit of isopropyl alcohol will make it easy to remove the glue by grasping it with a longnose plier.

Note: The TOD coin cell battery is not easily accessible without further disassembly of the 788 but that should be avoided.

6.Start by pushing on the coin cell through an open corner of the holder using an insulated stick, such as the handle of a cotton swab.

7.Using a strong and sticky tape, such as electrical or duct tape, stick one end of it to the exposed area of the coin cell and then pull to remove the coin cell from the holder.

8.Carefully slide the new coin cell into the holder being certain the correct side of the cell is facing up.

9. Reassemble the 788T, by following the previous steps 4-1 in reverse order.

Ben Osmo & Oliver Machin

Sound Devices 7-Series recorders go on a wild ride with cast and crew of Mad Max: Fury Road and proves vital in high-speed production across the hot, sandy landscape of Namibia.

Namibia, Africa As the title implies, Mad Max: Fury Road is a mad and furious, high-action post-apocalyptic film set in a desert wasteland. The plot calls for a warlord’s harem to race across the sandy landscape in a desperate, high-speed bid for freedom from his ruthless henchman. Both escapees and their pursuers form an “armada” of armored vehicles. Hidden within that sandstorm were members of the audio crew, trying to capture every bit of dialogue and sound effects, all while in motion. Faced with such a monumental challenge, veteran production sound mixer, Ben Osmo, and vehicle FX recordist, Oliver Machin, turned to Sound Devices’ 7-Series of digital audio recorders.

“I used four 788T-SSDs plus four CL-8s, and did mix down to each recorder, plus a two-track mix down to a 744T for dailies,” said Osmo. “I also had a 788T rigged in my sound cart and kept that in a larger truck for a couple of months, next to video split.” In addition to that equipment, Oliver Machin brought a sixth 788T in a bag to record extra vehicle FX when necessary.

Osmo said, “The use of multiple 788Ts became necessary when the challenge was to record multiple tracks under extreme conditions. The 788Ts were very versatile. As well as ISO tracks and mix downs, we were able to set up mix minuses with AUX sends into a monitor mixer. We had available 42 channels of radio mics. This was because of the repeater systems and different RF blocks in play, so we could pre-rig vehicles ahead of time, and in my van, I would then cross over to the correct receiver blocks once they were in action.”

Machin said, “It was kind of ridiculous trying to keep track of that many transmitters. We were planting mics on the vehicles… and Mark Wasiutak would also travel with a boom mic to grab the slates and sync effects at the time with the shots.”

There was also a separate Action unit sound team, using a more simplified system, still pursuing the action and—because the vehicle sounds were so loud—providing usable guide track dialogue for future automated dialogue replacement (ADR).

Microphones were hidden in the cabin and on the principle cast, in the engine bays, near exhausts, on top of the “War Rig” (the main characters’ get-away vehicle), and on a vast number of supporting cast members in other vehicles. Capturing all of that audio would be a major task on a normal sound stage, but portability requirements for Fury Road would not allow for a typical film-studio audio setup, so the crew had to get creative.

“We had a 4×4 vehicle,” said Machin, describing Ben Osmo’s van they dubbed the Osmotron. “Instead of having sound carts traditionally… that wasn’t going to cut it on a road movie traveling at 80 or 90 miles an hour across the desert. Nobody was going to keep up, so we built into his vehicle huge racks of radio mic receivers.”

“It was lucky that I had all SSD 788Ts,” Osmo said. “So, even though most of the filming was off road, they performed exceptionally well under extreme vibration.” Separately, a 744T was suspended in a pouch so it could absorb the shocks of the Namibian desert during the 6-mouth-long production schedule. “They never skipped a beat, especially when travelling and recording on very bumpy and dusty terrain.”

Adding to the complexity, the cast members were essentially in a rusty box, so RF reception had to be rethought, making repeaters sometimes necessary. The crew set up three multiplex systems (which Ben designed with assistance of RF experts) with RF combiners and high-powered transmitter boosters to maximize the range of 1-to-3 kilometers, not only for recording purposes but also to aid communication behind the scenes.

“As we travelled long distances, the walkie talkie repeater towers were often out of range,” Osmo said, “so I was asked to provide my comms in the Lectrosonics radio mics and IFB systems to Director George Miller and First AD and co-producer, PJ Voeten, as they also often were great distances apart—at least 500 meters to 1.5 kilometers—and they were able to have hands free communication. Cinematographer John Seale and two of his operators were on this system, and the First AC Camera people, as well.”

Comms were also used to feed audio to IFB receivers for cast members, including Immortan Joe played by Hugh Keays-Burne. As sound mixer, Osmo also had to feed a musical mix to musicians armed with ear wigs to aid them in keeping time to the beat while riding atop the “Doof Wagon” vehicle, and playing instruments, such as drums and a flaming guitar.

When the action call came, only the camera tracking vehicles, SFX, and the lonely sound van were in pursuit. Mark Wasiutak, key boom operator, travelled on the hero vehicles when cameras were on board. He was able to troubleshoot with assistance from the rest of the sound crew whenever the armada was stopped for checks.

“It was like a whole armada,” Machin said. Once it stopped, “Every department was jumping in their 4x4s and travelling to assist. I mean literally they would be going five, six, seven kilometers across the desert, turn around and come back again, or go farther.” The whole unit relocated to new technical base camps, then waited for the cue to go again. “It was quite a feat to make that happen.”

In the Osmotron , Ben Osmo used:

    • 4 Sound Devices 788T recorders with CL-8 accessories
    • 1 Sound Devices 744T recorder
    • 1 Pro Tools® 10 system
    • 6 Lectrosonics™ Venues in a customized road case
    • 2 Venue fields
    • 1 Mackie Mixer 1604 for monitor mixes
    • 1 Meon UPS and Meon Life
    • 4 Lectrosonics IFB transmitters
    • DPA 4061 lapel mics
    • Lectrosonics IFB receivers
    • 3 video monitors

Oliver Machin’s bag system for recording vehicles in the last weeks of the Namibia Shoot included his 788T and a CL-8.

On Ben’s sound cart for FR in studios and locations in Australia:

    • 2 Sound Devices 788T with CL-8
    • 1 Sound Devices 744T
    • 1 Sonosax SX10
    • 3 Lectrosonics Venues
    • 1 Lectrosonics Venue Field
    • 4 Lectrosonics IFB tx and 24 IFB rx
    • 1 Meon UPS and Meon Life
    • 1 Mackie 1604 monitor mixer
    • 1 Yorkville P.A.
    • 1 Pro Tools 10 system

The 788T-SSD is equipped with eight full-featured microphone inputs and twelve tracks of recording. In a compact, light-weight, stainless steel and aluminum chassis, the 788T-SSD accommodates individual controls and connectors for each of its eight inputs, as well as numerous additional I/O and data connections.

Mounted to the 788T-SDD, the optional CL-8 accessory is a powerful mixing control surface, providing rotary faders for each of the recorder’s eight inputs, plus input routing and setting control.

The 788T-SSD comes with a factory-supplied, high performance solid-state drive, which provides several important benefits including vast internal storage capacity, continuous recordings of over 60 hours of 24-bit, 8-track audio at 48 kHz, plus better immunity to shock, temperature extremes, and zero acoustical output. In addition to its superior shock immunity, the SSD used in the 788T-SSD also enhances data transfer due to its increased transfer speed versus a spinning hard drive.

Another benefit of the 788T is its reliable timecode jamming capabilities, making it right at home in complex multi-camera sync-sound productions like Mad Max: Fury Road. Although the 788T has an on-board, high-accuracy Ambient timecode generator, while on location for Fury Road, the crew used Ambient master clocks with GPS antennas set to Greenwich Mean Time. All cameras were supplied with Lockit boxes and Deneke slates with Ambient Lockits.

Osmo said, “My 788T recorders and the 744T were jammed from the same Ambient master clock. All the recorders synched up beautifully and never missed a beat.”

Mad Max: Fury Road, which debuted May 2015 in theaters around the globe, is the fourth film in George Miller’s Mad Max franchise and the first film in that franchise in three decades. It stars Tom Hardy as Mad Max, replacing Mel Gibson in the original title role, along with Charlize Theron, Nicholas Hoult, and Hugh Keays-Byrne.

Warranty – Main Products

Products (1 plus 1) : Sound Devices Products Warranty

Items covered by this warranty:

Audio:

302, 552, 633, 664, 688, 702, 702T, 722, 744T, 788T, 788T-SSD, 970, CL-6, CL-8, CL-9, CL-12, HX3, MD-4, MixPre-3, MixPre-3M, MixPre-6, MixPre-6M, MixPre-10T, MixPre-10M, MixPre-D, MM1, MP1, SL-6, USBPre2

Video:

PIX-E5, PIX-E5H, PIX-E7, PIX-LR, PIX 250i, PIX 270i, PIX 240i, PIX 260i, PIX 220, PIX 220i, PIX 240

Sound Devices, LLC warrants the items listed above against defects in materials and workmanship for a period of ONE (1) year from date of original retail purchase. Users who register their product directly with Sound Devices Technical Support by mail, online, or phone, will receive an additional ONE (1) year of warranty coverage, extending the complete warranty period to TWO (2) years from the date of original retail purchase. In order to extend the warranty coverage period, registration must be completed within the initial ONE (1) year warranty period. Products must be purchased through authorized Sound Devices resellers to qualify for Warranty coverage. Damage resulting from the opening of a Sound Devices product or attempted repairs by a non-authorized Sound Devices repair technician will void warranty coverage.

This is a non-transferable warranty that extends only to the original purchaser. Sound Devices, LLC will repair or replace the product at its discretion at no charge. Warranty claims due to severe service conditions will be addressed on an individual basis.

THE WARRANTY AND REMEDIES SET FORTH ABOVE ARE EXCLUSIVE. SOUND DEVICES, LLC DISCLAIMS ALL OTHER WARRANTIES, EXPRESS OR IMPLIED, INCLUDING WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE. SOUND DEVICES, LLC IS NOT RESPONSIBLE FOR SPECIAL, INCIDENTAL, OR CONSEQUENTIAL DAMAGES ARISING FROM ANY BREACH OF WARRANTY OR UNDER ANY OTHER LEGAL THEORY. Because some jurisdictions do not permit the exclusion or limitations set forth above, they may not apply in all cases.

For all service, including warranty repair, please contact Sound Devices or Video Devices for an RMA (return merchandise authorization) before sending your unit in for repair. Product returned without an RMA number may experience delays in repair. When sending a unit for repair, please do not include accessories, including SSD drives, CF cards, batteries, power supplies, carry cases, cables, or adapters unless instructed by Sound Devices. Sound Devices repairs and replacements may be completed using refurbished, returned or used parts that have been factory certified as functionally equivalent to new parts.

Sound Devices, LLC

Services Repair RMA #XXXXX

E7556 State Road 23 and 33
Reedsburg, WI 53959 USA
Telephone: +1-608-524-0625

Approved Media – 788T

Sound Devices extensively tests removable recording media with the 788T Recorder.

Sound Devices own approved CF card – the SAM-32CF – has been optimized and extensively tested to ensure fast and flawless performance when used with the 788T-SSD recorder.

Type Size Brand Model
CF Card 32 GB Sound Devices UDMA7; 160MB/s read 120MB/s write (1050x)

The cards from other manufacturers listed below have been tested and have successfully passed benchmark testing with these products.

Type Size Brand Model
CF Card 128 GB Delkin Devices CF1050X, UDMA7, 120 MB/s write; 160 MB/s read
64 GB Delkin Devices CF1050X, UDMA7, 120 MB/s write; 160 MB/s read
32 GB Delkin Devices CF1050X, UDMA7, 120 MB/s write; 160 MB/s read
Delkin Devices CF700X, UDMA6, 67 MB/s write; 105 MB/s read See Note 1
LEXAR Prof 800X; UDMA7; 45 MB/s write; 120 MB/s read
16 GB Delkin Devices CF700X, UDMA6, 67 MB/s write; 105MB/s read See Note 2

Discontinued Media

This table contains media approved/tested by Sound Devices, but is no longer readily available for online purchase.

Type Size Brand Model
CF Card 64 GB SanDisk Extreme Pro; UDMA7; 90 MB/s
32 GB SanDisk Extreme; UDMA7; 90 MB/s
LEXAR Prof 1000X; UDMA7; 145 MB/s write; 150 MB/s read
16 GB SanDisk Extreme Pro; UDMA7; 90 MB/s
WINTEC Filemate Professional; UDMA5; 25 MB/s write

* Note 1: Sound Devices and Delkin have worked closely together with regards to testing CF model 700x cards. Delkin has confirmed that cards containing VQ in the serial number are not compatible, but cards ending with VU in the serial number are compatible, and are therefore approved.

* Note 2: Sound Devices has worked directly with Delkin to identify an intermittent Media I/O issue with newer Delkin CF 500x and CF 700x cards. Delkin has confirmed that a recent change to these two cards is most likely responsible for the errors. Cards containing KZ in the serial number are susceptible to this issue and should not be used. Cards containing VB in the serial number will function correctly and are approved. Deklin CF 1000x and 1050x cards do not experience this issue and may continue to be used.

788T Firmware v3.02

Download
  • Improvements
    • Settings are now saved to internal flash memory in a more robust and secure way, significantly reducing the likelihood of random loss or corruption of user settings.
  • Known issues
    • Slightly delayed reaction when enabling tracks using the CL-9 Track Buttons.
    • When C-linking 788T’s, if the Master 788T is set to record multiple mono files to more than one media, it can sometimes miss sending a record start command to the slave. For this reason, it is recommended that the Master 788T is set to record to Poly wave files if recording to more than one media.
    • CL-9 Trim Levels are not correctly restored after a power cycle. Workaround: Check trim levels after power cycles. A slight adjustment of the encoder will return the trim level to the set value prior to power down.
    • CL-9 Encoder Acceleration 2-Speed and 3-Speed settings do not work correctly when a USB keyboard is connected to the CL-9. Workarounds: Use Classic or Fixed Encoder Acceleration Modes or disconnect the USB keyboard and use CL-1, CL-WIFI, or Wave Agent Control Mode to enter/edit metadata.
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