Audio Taping for Transcription From Network Interviews

[Mike]

Hey All,
Aside from the standard size audio cassette, is anyone using other formats/recorders for the various networks these days? For me, the norm is to either record on a standard audio tape or dial up the network's transcription service and let them listen in on the interview while it is live and being done in the field (have only done that for 60 Minutes, on a tight deadline turnaround).

I haven't asked yet, but I'm curious if the various networks or other clients are accepting other formats (aside from DAT) such as Minidisc, CD, etc.

--Mike

[dinosaur]

This all seems to be dependent on what the transcription services are using these days for playback of your project. For the most part it seems like the analog stereo cassette (mix-R, TC-L) is still what they are using to transcribe from. I can only remember being asked for TC DAT as a transcription format a couple of times. I wish we could use MD, but I don't think they are capable of recording the +2db level that TC requires. Try asking your producers what company does their transcribing.
Perhaps they do use several formats like Transcriptions.net (http://www.transcripts.net/formats.htm)

It would be cool if we could record the mix and timecodes as separate tracks into an .MP3 or .WAV file, record it on the producer's laptop or PDA and then just e-mail it to the transcriber.
(using a device like a http://www.sounddevices.com/products/usbpremaster.htm )

BTW, Sony has stopped making those small analog stereo recorders (Sony WM D6) that we use for transcription tapes. Consider your self fortunate if you have one that still works.

[Baltimore Shooter]

I just found this from Word Wizards - http://www.wordwizardsinc.com/dubbing_instructions.html

MAKING AUDIO CASSETTES WITH SMPTE TIME CODE
FOR TIME CODED TRANSCRIPTION

FOLLOW THESE FOUR SIMPLE STEPS:
1. Use a stereo cassette recorder to create a time coded audio cassette.

2. Record audio on the right channel (channel two), and record SMPTE time code on the left channel (channel one). If you get these backwards, don't worry about it; we can deal with that contingency. It's so easy that producers make these tapes in the field with no problem.

3. Set your recording levels to minimize the time code bleeding into the audio, but keep the time code record level within 8 db below zero. Time code at -5 db below zero works fine.

4. Never record time coded audiocassettes with Dolby on. (Optional: Send a sample tape with at least two minutes of audio and time code to Word Wizards as a free check.)

Connecting to your cassette deck
Connect the time code source to the line input on your Phillips-type audiocassette recorder. This requires a patch cable. The exact type of patch cable depends on the socket on the cassette recorder and the socket on the time code source.

Most Phillips cassette decks have female RCA sockets on the line inputs. Professional decks may have a three pin XLR (Cannon style) connector.

However, all kinds of sockets are used for time code.

Female BNC connectors are popular outlets for time code on camcorders and older VCRs. Professional decks tend to put balanced line time code out through three female pin XLR connectors. Industrial and "prosumer" decks seem to tend towards female RCA connectors.

You'll need the right cable to get from your time code source to the cassette recorder's line input.

If you are using RCA connectors, be certain that they make good contact. That connector style is notorious for making lousy connections.

If XLR connectors are involved, you should be alert for two problems:

a) If the time code comes from an XLR, you may have balanced line time code. Take only one leg of it (making sure which is ground) to get your time code source. Check the time code sources manual because the pin assignments aren't consistent.

b) If the recorder has an XLR line input, don't assume that you can simply patch it into a time code out XLR. That time code source may be balanced line and you'll need to take one leg only to feed the cassette deck.

Record levels
Record levels are important for a good quality recording. Word Wizards has to charge more for poor audio recordings because the transcriptionists can type faster longer when the audio is clear and free from interference from time code.

If your Phillips audiocassette recorder doesn't have any record level controls, we would suggest you not use it. It probably has AGC (Automatic Gain Control) which constantly adjusts the recording volume to keep the loudness even. Unfortunately, most AGC systems raise and lower both channels simultaneously. When the audio on channel two is very soft, the AGC compensates by cranking up the record volume by blasting time code on channel one to painful levels. Conversely, a loud burst of audio on channel two lowers the recording volume and can make the time code on channel one too soft to read.

The key is to set the time code record volume on channel one as loud as or lower (softer) than the audio you're recording on channel two. The trick is determining the best setting. That is the setting where the time code is as loud as possible without interfering with the audio on the adjacent channel. However, the time code level should never be more than 8db below zero. As we said in the introduction, set time code at the -5db below zero for a perfect dub.

Using a cheap $59 RCA cassette recorder (Catalog #14-680, Model - SCT-510), record both channels at 0db. There is some time code interference on the audio channel, but further lowering the time code record level doesn't help and makes the time code difficult to read. If you use the Optimus, light up all three green lights on the left and right channels.

If you have a professional cassette deck, record the audio at 0db, and record the time code at -3 to -8db (W). Keep the time code level as high as you can to be sure the time code read will track properly. Never record below -8db below zero.

Regardless of how fancy your cassette recorder is, you're likely to have some time code interference in the audio track. One facility engineer described time code as the "beach sand of the video business." Don't worry. Word Wizards has developed sophisticated systems to remove a great deal of that time code interference.

You might want to make a short sample recording and send it to Word Wizards for checking. We'll help you find the right levels. When you find levels that work, mark them down for future reference. There is no charge to check your sample tape.

Word Wizards can even align our playback units to exactly match your record deck if you give us a tape with at least two minutes of 1,000 Hz on only channel two (right channel). Please call to arrange for this service. It's only necessary to include this tone on the first tape (test tape) you send.

Warren

[Matt Box]

I read about soundmen using MD over on the RAMPS newsgroup. Sounds like some of them are indeed using it on network shoots.