get boom recorder
Brian Copenhagen "On A Tuesday"
I used Boom Recorder as the primary recorder. With a Sonosax SX-S10 at the front end, audio was sent to a MOTU Traveler for A/D conversion. A full mix was sent via the Main L and Main R outputs to channels 1 and 2, with pre-fader iso outputs per channel sent to the remaining channels on the Traveler. The Traveler was connected to a Mac Mini via firewire. As a backup recorder, I ran a Fostex PD-4 DAT, which served as the LTC timecode source for Boom Recorder. For the backup, the Traveler sent the two mix channels (one was a safety track @ -6 dB) to the DAT via AES digital format.
On set with Boom Recorder
Boom Recorder handled wonderfully. Recording was a breeze with a keyboard shortcut for record and stop, and the 10-second pre-record made sure nothing vital was lost at the beginning of the take. The metadata entry was simple and straightforward. The flexible metering system was accurate and fast, allowing me to set my own nominal levels (a -8 dBFS "yellow zone", and a -2 dBFS "red zone"). Routing audio to various track assignments was another simple task via the logically designed patch bay in Boom Recorder.
I recorded BWF 24-bit files in Boom Recorder. Because of Final Cut Pro's previous inability to read timecode from Broadcast Wave files (Apple finally fixed this in FCP 5.1.2), the files were treated with BWF2XML, which allowed the files to seamlessly drop right into FCP with timecode.