Like every area of filmmaking, the world of audio is constantly evolving and the introduction of new technology is a big part of that process. In the past year alone, Zaxcom unveiled its TRX700 transmitter/recorder plug-in for use with shotgun mics and its new TRX900. Solid State Logic showed off its new Duende Version 1.5 console for PC and Intel-based Mac users, while Sound Devices unveiled its 7-Series portable file-based audio recorders and field mixers. Tascam released its X-48 hard disk audio workstation and other top audio companies, such as JK Audio, Audio-Technica, Merging Technologies and Beyerdynamic promoted new products.

One of the top audio houses in the business, Coffey Sound in Hollywood, has been servicing film and TV for over 25 years, and Bob Tiwana, products specialist in the rental department, reports that the company is seeing several new audio trends and advances. “We’re definitely seeing more demand for isolated tracks and more inputs,” he notes. “Just two tracks to a DAT isn’t happening anymore, and we’ve passed up the Nagra, as far as being an analog device. It all tends to be digital now, from file transfer to archival services.

Coffey Sound is seeing a big increase in demand for 10-track field recorders, such as the Zaxcom Deva, he adds, “people want the Deva 4, 5 and now the 5.8, which records to two different mediums. Besides the internal hard disk, it can record to a compact flash card and to a DVD RAM. Then you can also use the fire wire output for archival purposes for a separate hard drive.” Tiwana is seeing the Deva 5.8 being used regularly on top TV shows, such as CSI, Desperate Housewives, and Reno 911, which uses it exclusively. “Also, a lot of the reality shows are going that way now, as it’s an over-the-shoulder unit and you can have a mixer and a recorder right there in one box,” he adds.

Sound Devices’ products are also hot ticket items, according to the company. “Demand is just going through the roof,” says Tiwana. “I think it’s the compact size. They’re also very rugged and well built – they’re almost bulletproof. You can also record on three different mediums at one time, and that’s always great, as it makes the audio guy’s life much easier. At the end of the day, when everyone else puts away all the gear that we use to make movies with, the sound mixer is usually still there, archiving the footage and data for dailies and also for back up. And that always takes time. So this way, they can mirror right to a DVD optical drive, so when they’re finished and they call ‘cut’ for the last take of the day, the audio guy can just pop out that disk and hand it over to the production coordinator, and then they’ve got their footage right there.”

For a clear picture of how the latest advances in audio gear are impacting the daily world of production, it’s instructive to talk to top audio people in the field, such as veteran production sound mixer Bill Macpherson, who has 30 years of experience and such credits as Curb Your Enthusiasm, Reno 911, U2’s Rattle & Hum, and The Sarah Silverman Show. “I began working in recording studios back in 1979, and audio technology has changed radically over the past 20 years,” he says. “It’s gone from Nagra analog recorders to DAT, and now to non-linear DVD formats. It’s not so long ago that DAT was the new big thing, and now it’s pretty much history, except for use in playback.”