Because Ken will not add f/x to a scene after the event, I sometimes record sync takes in stereo. I am aware that out of phase information in a stereo signal causes problems with sound being put into the surround channel when passed through the Dolby SVA Matrix. For this reason I limit the stereo width to that which produces the slightest widening of the of the image when listening on headphones (Sennheiser HD 25’s). 1 regard this not so much as full stereo but more as enhanced mono ie: giving a good widening of the image should it be required but not so much as to compromise mono compatibility. After setting image width I check this by monitoring in mono.

Operationally the Deva is very simple to use. Most functions are just two button presses away. The front panel display is very informative, giving at a glance access to the main operating modes. The ability to choose which track format to use on a take by take basis changed my approach to many scenes in this film. Whereas before I would have attempted to mix radio mics with a boom- always a risky exercise - this time I had the option to put the radio mics, or plant mics onto their own tracks leaving the final mix for the dub. While I try to provide a fully mixed track whenever possible, there are times when the action is so chaotic that separating elements onto separate tracks is the responsible thing to do.

Leading on from this flexibility is the increased need to provide accurate and comprehensive sound report sheets. I use a palmtop computer loaded with a word processor template. Each page has the name of the production, the date and Deva disc number at the top followed by columns giving the slate and take number, the recording format (1, 2 or 4 track) start time codes, Deva segment numbers and finally comments. 

Because of it’s non-linear nature and excellent locate facilities it is easy to go back and fill in missed information when necessary.

The Deva proved itself to be a reliable, good sounding and easy to use device but I do have some criticisms:

Approximately a quarter of this film was recorded ‘off the cart’ in run-around documentary mode. In these situations I used the Deva in conjunction with a SQN mixer, mainly because this mixer has rotary channel faders that are specifically designed for documentary use. In contrast, the Deva knobs are much too small and fiddly with a very loose, low friction ‘feel’. 

Some of the connectors used for inputs and outputs are too flimsy, particularly the line input. This input passes through a multi-pin D-connector. While these are fine for intermittent use on the back of a personal computer, they have no place on a piece of professional audio equipment. One of my main worries when using the Deva in doco mode was that this connector would be knocked and damaged. A better solution, in my opinion, would be to have a line/mic switch on each XLR input. The battery compartment must have a way of pushing the battery out of the machine quickly. On two occasions Richard Kite, my sound maintenance, was in the embarrassing situation of having to shake the Deva to extract a battery after the small self-adhesive tab that Zaxcom supply came off. Fortunately this piece of theatre was carried out in the camera truck and not in front of the whole crew!

Power management could be improved, It would be great if the internal battery could be trickle charged while the Deva is on external power, also, the battery display only indicates the voltage of the internal cell, it would be very useful if it could also display the voltage of the external power source. Finally, the input level trim control should be either a stepped attenuator or have a small knob attached to the trim pot. The present arrangement with the recessed, screwdriver operated trim pot is too inconvenient for field use. at the very least the access hole should have a larger diameter.

These criticisms aside, I think that Zaxcom are to be commended for producing a new format that works very well. It is important to realise that this is not a personal computer hard disc recording system in a box with A/D’s and I/O’s. This machine has been designed from the ground up to be a location sound recorder. The internal hard disc records data using the Mobile Audio Recording Format. This optimises data transfer to and from the disc in the harsh conditions of film production. I hope that the Deva becomes widely adopted by the film industry. Using the Deva has been a risk and an adventure for me. I look forward to using it again on feature and documentary projects in the future. 

RAY BECKETT AMPS

This article was first published in the CAS Journal.

 QUOTABLES

When I’m caught between two evils, 

I take the one I’ve never tried