Nagra NAGRA 4.2 User manual

© Copyright 1994, 2003 by Fred Ginsburg.
All rights reserved.
Guide to the
Nagra 4.2
and
Production Sound
Recording
2nd Edition
Written by
Fred Ginsburg, Ph.D. C.A.S.
ISBN 0-9713941-0-5
Price:
It is illegal to make copies of this publication
and its contents by any means mechanical,
photographic, or electronic without express
written consent of the copyright owner.

© Copyright 2003 by Fred Ginsburg. All Rights Reserved.
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Education & Training Division
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Guide to the Nagra 4.2 and
Production Sound Recording
Contents:
Guide to the Nagra 4.2.......................................................................................................... page 3
Simple Instructions for the Nagra IV-STC.......................................................................... page 27
The Soundtrack: aesthetic elements ..................................................................................... page 28
Pre-production Planning ....................................................................................................... page 39
Production Sound: An Introduction...................................................................................... page 57
Hierarchy of Microphone Techniques.................................................................................. page 63
Selection and Application of Shotgun Microphones............................................................ page 66
Tips on using your boompole ............................................................................................... page 71
Shockmounts and Windscreens ............................................................................................ page 74
Red Dotting and Microphone Powering............................................................................... page 79
Selection and Use of Lavalier Microphones ........................................................................ page 82
Using Wireless Microphones ............................................................................................... page 88
Introduction to Mixing Panels .............................................................................................. page 96
Consistency in Production Sound Recording ....................................................................... page 100
Recording Audio for miniDV............................................................................................... page 102
Step-by-step Audio for the Canon XL1 (courtesy of Canon)............................................... page 105
Introduction to SMPTE Timecode ....................................................................................... page 112
Is Timecode Always Necessary............................................................................................ page 114
Formatting for Sync Playback .............................................................................................. page 116
What Your Crew Expects ..................................................................................................... page 118
Before You Sign that Deal Memo ........................................................................................ page 123
FAQ: Basic Audio Packages ................................................................................................ page 125
Digital Recording ................................................................................................................. page 127
Tape Boxes and Professional Labels.................................................................................... page 129
Guide to Microphones for Film / TV ................................................................................... page 130
Production Forms: Production Timesheet & Sound Report (okay to reproduce!)............... page 132
From Audio Technica US (courtesy of Audio Technica) .................................................... page 134
The Nagra V Recorder (courtesy of Nagra USA)............................................................... page 136
About the Author; Acknowledgements ................................................................................ page 139
Preface
This publication is a compilation of articles dealing with Production Sound Recording for Motion Pictures and
Video. It includes the popular "Guide to the Nagra 4.2" operations manual along with an assortment of short pieces
covering various aspects of sound recording for film and video. Many of these articles were originally published indepen-
dent of each other in trade magazines, so it is not unusual to find some redundancy. I have opted not to include operating
guides for recent digital recorders since PDF versions of the original manuals can be downloaded from the manufacturers
websites. Manufacturers' brand names and model numbers are the registered trademarks of those respective companies.
Equipment Emporium Inc.
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ISBN 0-9713941-0-5
2nd Edition printed October 2003. © Copyright 1994, 2003 by Fred Ginsburg. All rights reserved.
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without express written consent of the copyright owner.
Published and distributed by Read more articles about
Production Sound at
www.equipmentemporium.com

Page 3
© Copyright 2003 by Fred Ginsburg. All Rights Reserved.
EQUIPMENT EMPORIUM INC
Education & Training Division
Guide to the Nagra 4.2 and
Production Sound Recording
UNDERSTANDING AND OPERATING
THE NAGRA 4.2 SYNC RECORDER
written by Fred Ginsburg, C.A.S.
The Standard for
Film Production
The Nagra audio recorder has
been and still continues to be a world-
wide standard for use as a portable
tape recorder for sync dialogue. Since
the early sixties, the Nagra has been
the recorder of choice for motion
picture production, and has been
unchallenged until recently with the
introduction of timecode DAT record-
ers. In 2002, Nagra recaptured a
portion of the digital audio market
with its introduction of the Nagra 5 digital timecode recorder with removable hard-drive.
Although DAT recorders have better audio recording specs than the basic Nagra, the current crop of
DAT’s are nowhere near as dependable under diverse conditions and lack many of the convenient features
that the Nagra offers, such as confidence head monitoring (you can listen off of the tape that was just
recorded a moment before to insure that what you heard is what you got); excellent microphone preamps
(the mic pots on a Nagra are as good as any found on a mixing panel; something that cannot be said for DAT
recorders); and long play battery life (days on one set of D batteries as opposed to an hour or so offered by
DAT recorders).
Despite the Nagra’s compactness, it rivals full blown studio machines for recording quality. More
importantly, the Nagra recorder is extremely rugged and continues to operate in perfect spec even under
arduous location conditions! (Something that cannot be said for most DAT recorders.)
Unlike studio recorders that require daily adjustment, the Nagra is able to maintain its high quality of
recording with but minimal maintenance once or twice a year. Nagras have been known to go for several
years without any maintenance and still function almost perfectly, although it is a poor professional practice
to be so negligent in the care of one’s equipment.
The Nagra is so much the industry standard for motion picture production that the brand name has
literally become synonymous with the term “portable sync recorder”.
It is not uncommon to be asked, “What are you using for a Nagra?” Which means, what type of Nagra
are you going to use for sync sound, or are you going to use a sync cassette recorder, etc.
Nagra, by the way, literally means record in Polish. Stephan Kudelski, the inventor of the Nagra, is
Polish. The Kudelski/Nagra factory is located in Switzerland.
As an aside, during the preparations of the 1984 Olympic Games, when it seemed like every company
under the sun was the official this or that sponsor, we used to kid the local Nagra staff that they should
commission a poster proclaiming “Nagra, the official Nagra of the 1984 Olympics!”

© Copyright 2003 by Fred Ginsburg. All Rights Reserved.
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Guide to the Nagra 4.2 and
Production Sound Recording
Various models of the Nagra
Historically there have been three significant models of monaural machines, and two models of stereo
recorders.
The first practical Nagra was the model III. The Nagra III was very reliable, and to this day is still
found in many sound studios as a transfer deck to sprocketed mag film. The III relied upon external sync
reference (umbilical cords from the film cameras), but most machines have long since been modified with
crystal sync.
In the early days of Eclair NPR and Arriflex 16BL film cameras, sync between the camera and recorder
was maintained by a “sync cable” that linked the two together. A 60 cycle sync pulse was generated by the
camera motor, and this signal was recorded on the Nagra as an indicator of the exact film speed. Due to motor
and battery variances, the film speed tended to vary slightly, and the 60 cycle sync pulse would reflect these
speed changes.
The eventual advent of crystal controlled camera motors eliminated any film speed variance, and so the
physical linking of camera and sound recorder became unnecessary. The Nagra took its sync reference from
its own crystal regulated sync pulse generator.
The model III offered only one mic input, plus one line level input (adaptable to mic level), and required
an external resolver for sync playback. It also required a dual banana jack adapter for headphones.
The next generation of Nagra was the model IV-L. The IV-L looks somewhat similar to the model 4.2,
and features two microphone inputs plus one line input. The IV-L features internal crystal sync and also
accepts an internal resolver circuit board.
There is a “dangerous” position on the main control switch of the IV-L which activates the RECORD
mode, but at very reduced levels. This unlabeled FADE RECORD position is between TEST and
RECORD. This was intended as some sort of “fade in” mode for European users, to create a soft start for
their recordings (Why?). Many Nagra users have made the horrible mistake of thinking they were in the
regular RECORD mode when actually they were only in the FADE RECORD position, thus rendering their
recordings unusable.
If you own a Nagra model IV-L, have a technician permanently disable that switch setting and
jumper it for regular RECORD.
The Nagra IV-S was designed for stereo recording, but still utilized a 60 cycle sync pulse. However, the
sync pulse system on a stereo is very different than that found on a monaural machine, and the formats of
recorded tapes are not interchangeable between mono and stereo machines.
Tapes recorded on any of the mono Nagras are fully interchangeable with any other model mono Nagra.
The Nagra IV-S requires an external resolver, and special input cables for line level input (with 47K
ohm resistors). Almost no one uses a IV-S these days.
The stereo Nagra of choice was the model IV-STC, which is a
Nagra IV-S that has been designed to record SMPTE time code in the
track area formerly used for 60 cycle sync pulse. The model IV-STC is
more complicated to learn and operate, and will not be dealt with in this
chapter.
Other models of Nagra recorders include the E(a non-sync re-
corder); the IS (stands for idiot simple; European idiots must be of a
higher mental caliber than American idiots since it never caught on in the

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© Copyright 2003 by Fred Ginsburg. All Rights Reserved.
EQUIPMENT EMPORIUM INC
Education & Training Division
Guide to the Nagra 4.2 and
Production Sound Recording
U.S.); and the SN (a miniature recorder originally developed for the cloak and dagger crowd, rendered
obsolete by radio mics and miniature DAT recorders). The model Tis a large, studio timecode stereo re-
corder, compatible intended for use with telecine transfers and post-production. The Nagra model D is a
four-track reel-to-reel digital timecode machine. The newest Nagra is the model 5, which is a digital stereo
timecode portable recorder that utilizes a removable (expendable) hard-drive.
By far the most common Nagra in filmmaking is the model 4.2L. This is the pinnacle of the mono
machines, and is the standard to which all portable sync recorders are compared.
The Nagra 4.2 offers two microphone inputs, plus one line level input, and features internal crystal sync
and internal resolver. It is still used by the majority of television series as well as many independent feature
films.Weighing under fifteen pounds including batteries, and measuring approximately 13” x 10” x 4.5”, the
Nagra 4.2’s recording specifications at 7 ½ ips are:
Wow and Flutter: 0.03%
Freq. Response (at 20 dB below peak level): 30 Hz to 15 kHz +/- 1.5 dB
Signal to Noise: 73 dB
Bear in mind, of course, that these specifications are both conservative and applicable to full spectrum
music recording. When used for the recording of simple speech (dialogue), the results are even more impres-
sive!
What is Sync Sound?
In single system filmmaking and video, the location audio track is physically recorded on the same
piece of film or videotape as the picture. In essence, the camera or VTR serves records both picture and sound
simultaneously.
Double system filmmaking involves the process of recording audio separately from the picture, by
means of an isolated audio recorder. Dailies, screenings, and editing take place with picture and audio on
separate physical reels, projected and played back in “sync” by means of interlock. Double system provides
the editors with a great deal of creative options. At the completion of all post-production, the separate reel of
audio is physically merged to the picture in the form of a composite print (single system), featuring picture
and sound adjacent to each other on the same reel.
Double system recording is not just limited to motion picture production. Sometimes in video produc-
tion it is preferable to record the audio separately from the video, and a sync recorder such as a Nagra, DAT,
or multitrack is used for that purpose. Rationale for double system recording in video includes: concert
recording, protection backup tracks, audio only interviews & sound effects, and closer physical placement of
the audio recorder/microphones than where the camera might be located. When dealing in terms of older
camcorders whose technological achievements were limited to picture at the expense of audio, double system
recording has very obvious benefits.
Talking about sync and achieving it are two different things!
In the old days, sync between camera and sound recorder was maintained by electromechanical means.
Sound was recorded directly onto sprocketed magnetic film, with one frame of picture corresponding to one
frame of sound. Tape recorders were the size of telephone booths and had to be kept outside of the sound-
stage either in another building or in a large truck. Large 3-phase power cables connected the recorder with
the camera, and literally drove it sprocket for sprocket in sync with the sound.
Later systems utilized synchronous motors, with both the camera and sound recorder running locked to
the 60 Hz frequency of common AC electrical current.
In the sixties, Stephan Kudelski and Loren Ryder introduced Hollywood to a new way of doing things.
Location sound could be originally recorded onto a lightweight ¼-inch tape recorder, and then later trans-
ferred to sprocketed magnetic film for editing and rerecording (mixdown).

© Copyright 2003 by Fred Ginsburg. All Rights Reserved.
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Guide to the Nagra 4.2 and
Production Sound Recording
Sync between the film camera and the tape recorder was achieved by a system known as neopilotone.
Again, both the camera and the sound recorder took advantage of the 60 Hz frequency provided by running
off of common AC electrical current.
But since the Nagra did not utilize sprocketed tape, it had to rely upon neopilotone to achieve sync. The
way the system works is that a 60 Hz sync pulse (in actuality a sine wave) is recorded onto the center of the
audiotape. When the recording is later played back for transfer, a special device known as a resolver com-
pares the sync frequency (sync pulses) on the tape against an external reference (another 60 Hz signal). The
resolver speeds up or slows down the tape speed so that both 60 Hz signals match up. The resolving process
compensates for errors such as tape stretch, slippage, and minor motor fluctuations.
We do not normally hear the 60 Hz sync pulse (hum) on the Nagra tapes because a second 60 Hz sine
wave is simultaneously recorded onto the tape. This second sync pulse is a mirror image twin (180 degrees
out of phase) of the first sync pulse. When the two sync pulses are played back over the head together, they
cancel each other out.
That is why you will hear the sync pulse if you play back a full track Nagra tape on a quarter-track or
half-track recorder.
If you attempt to razor blade edit a tape recorded with a Nagra, you will hear noise at the edit points
when you make a diagonal splice, since the diagonal cut eliminates part of the mirror sync pulse that other-
wise functions to cancel out the primary sync pulse. When using a Nagra for non-sync recording, such as
radio interviews, merely remove the crystal jumper plug from the right side of the machine to prevent a
sync pulse from being recorded that might interfere with any future (razor blade) editing.
It is very important to realize that Nagras do not run at 24, 25, nor 30 frames per second! They run at 7
1/2 INCHES per second. It is the FILM CAMERA that runs at frames per second, and then later it is the
MAG FILM RECORDER that will record at frames per second to match the film camera. But as far as the
Nagra is concerned, there are NO FRAMES per second, only inches per second IN REAL TIME.
What this means is that the crystal sync pulse system is intended to replicate or reproduce a recorded
event in precise real time — no longer and no shorter than the actual elapsed time.
If we were to film a scene that ran 10.00 seconds with a crystal controlled film camera running at 24 fps,
and then projected that same strip of film at 24 fps, we would re-create an event of 10.00 seconds duration.
During the same production, if we were to record audio of that 10.00 second event, we would require
that the audio recorder be able to play back that sound in precisely 10.00 seconds. Any longer or shorter —
due to tape stretch, slippage, or motor variation — would result in a loss of lip sync.
The Nagra is capable of reproducing those 10.00 seconds by means of recording a sync pulse (generated
by a crystal clock) onto the original tape, and then comparing (resolving) that sync pulse to a reference sync
pulse (such as that same crystal clock). The tape speed is minutely adjusted so that the sync pulses match up.
The end result is an audio event of 10.00 seconds. Real-time.
So where do the frames come in? At the same time that the Nagra plays back the audio in real time, a
sprocketed MAG FILM recorder is running at the same frame rate as the camera originally did. The audio
(10.00 seconds) is recorded onto a film strip with sprocket holes that is running at frames per second.
Question: If the Nagra is running at crystal controlled real-time, what is governing the speed of the mag
recorder during the transfer?
Some mag recorders are crystal controlled, but many of them take their speed control by the 60 Hz
frequency generated by our AC electrical system. Since the mag recorder and film projector are both referenc-
ing the same AC frequency, any variations in that frequency that may occur in the power line affect both
machines the same, so lip sync is maintained. When audio is transferred from a crystal Nagra to a mag
recorder locked to AC, we use a special AC power adapter (called the ATN) to both power the Nagra and to
provide an external sync pulse reference taken from the AC line. This external reference locks the Nagra to

Page 7
© Copyright 2003 by Fred Ginsburg. All Rights Reserved.
EQUIPMENT EMPORIUM INC
Education & Training Division
Guide to the Nagra 4.2 and
Production Sound Recording
the same (possible) fluctuations that may affect the mag recorder and projector.
The resolver in the Nagra will adjust the play back speed of the tape to match any variations in the
frame rate of the mag recorder. Real time has now been superseded by projection time. For example, our
10.00 second scene may end up projected at 10.09 seconds, a slight variation of 24 fps. However, the mag
recorder is locked to the same AC line, so it too would be running slightly off from 24 fps to match the
projector. Our Nagra, locked to the same AC line, would be adjusting its speed so as to match 10.09 seconds
of “real time”.
The Nagra deals with record duration and play back duration. Seconds, not frames.
It does not matter what frequency sync pulse is used during the record process, so long as that
same frequency is used during the play back process. 60 Hz is the norm in the United States, and 50 Hz is
the norm in Europe. Most Nagras have an internal switch to change from 60 Hz to 50 Hz.
But if a mistake is made, and the Nagra crystal is left on 50 Hz during one’s shoot, it is not a major
problem. British film cameras may run at 25 fps, but the audio still runs in real time! As long as the Nagra is
resolved to a 50 Hz crystal reference, it will play back in precise real time, and lip sync is preserved during
the transfer!
If a Nagra crystal goes sour, and records a 47.8 Hz sync pulse, there is still no problem. Just make sure
that you use the same machine to transfer from, and let the Nagra use its same (albeit defective) 47.8 Hz
internal crystal for reference. Real time will be maintained! Ten seconds of picture will equate to ten seconds
of sound.
The only time that transferring becomes complicated is when we alter the real time relationship between
the film camera and the recorder, such as when we transfer negative film (shot at 24 fps) to video via a
telecine that slows the film down to 23.97 fps. If the audio is being transferred directly to video (instead of to
a sprocketed mag recorder), then we need to fool the Nagra into slowing down by the precise same percent-
age. We do this by feeding the Nagra an external sync reference slower than the original 60 Hz we used
during recording. In the case of film to video, we would feed the Nagra a 59.94 Hz reference, and that would
adjust for the film speed slow down.
The key item to remember is that as long as the film camera is crystal controlled, it does not matter what
the frequency is of the sync pulse that is recorded on the Nagra, just so long as that same frequency is used
during resolve play back.
Operation of the Nagra 4.2L
Turn it ON and check the Batteries The first thing to do is to turn the Nagra
ON. Do this by flipping the power switch on
the front of the machine from EXTERNAL
(off) to BATTERIES (on).
Next, we want to verify the condition of
the batteries. Turn the main selector switch up
to TEST. Turn the METER SELECTOR to
BATT RESERVE and look at the lower line of
the meter. If the needle rides in the rightmost
portion of the thick black line, you have good
batteries. If the needle rides in the left third of
the black line, you have weak batteries. If the
needle is somewhere in the middle, you have
“somewhere in the middle” batteries!

© Copyright 2003 by Fred Ginsburg. All Rights Reserved.
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Guide to the Nagra 4.2 and
Production Sound Recording
Okay, you’re saying, “Cut the
sarcasm. What do you mean by 'some-
where in the middle batteries'?”
Well, that’s the problem. The
BATT RESERVE indicator is only good
as a quick check, and does not really tell
you very much.
But the next click down is the
VOLT/CELL indicator. This is the
position to use for checking batteries. It
will display a very precise readout of the
average volts remaining per battery, and
is read on the middle scale of the meter.
Markings range from 1.6 downward.
Brand new D batteries should read
around 1.5 or higher.
Note that there is a caret (triangle)
at the 1.1 marker. This is the lowest
voltage that will still operate a Nagra. At
this point, the motor speed will begin to
fluctuate, and lip sync may be lost.
The 1.1 marker is not a warning,
but a PROMISE of bad things to come.
Do not ever allow your batteries to get
that low. If the producer is paying for
the batteries, change them at 1.3 volts
per cell. If you are really trying to
stretch the budget, you can go down to
1.2 volts. No lower! Batteries wear
down gradually up until 1.2 volts, then they deplete rapidly to 1.1 volts. Never press your luck; you will lose!
Batteries that have been resting for a few hours will read higher at first. Check your battery level
often, especially in cold weather.
To replace your batteries, turn the main selector to OFF (nine o’clock position) and flip the power
switch to EXTERNAL (just for extra protection). Turn the Nagra upside down, and use a coin to unlock the
battery compartment.
Remove all of the old batteries
and get them out of your sight! Give
them to the crew for use in flashlights,
or dispose of them safely. Do not put
them back into a battery carton, lest
they be mistaken for fresh ones later
on! While you have the battery
compartment open, take note that there
are three fuses located in the positive
battery terminals. These fuses can be

Page 9
© Copyright 2003 by Fred Ginsburg. All Rights Reserved.
EQUIPMENT EMPORIUM INC
Education & Training Division
Guide to the Nagra 4.2 and
Production Sound Recording
removed with your fingers and inspected. If they need to
be replaced, use 2.5A 5x20mm. These fuses will blow if
batteries are inserted wrong, or if a battery reverses its
own discharge. The sign that a fuse may be blown is if
you turn on the machine and nothing happens. (Even
weak batteries should make the needles move.)
Insert twelve NEW D cell alkalines (Duracell or
Energizer are recommended). Be careful that all of the
batteries are facing the proper direction! If the engraved
battery icon on the floor of the battery compartment is
hard to see, outline the plus and minus signs with a
Sharpie marker.
Always use fresh, new batteries of the same brand
and batch. Never intermix different brands, as the batter-
ies will deplete at varying rates and cause electronic
noise. I prefer Duracell coppertops because of their
quality and the ease of visually ascertaining that all of the
batteries are facing the same direction.
Replace the battery lid. Activate the power switch, go to TEST position, and check your VOLTS/
CELL. Should be reading around 1.5 volts.
Nagra Input Side (left side)
Rx Socket
This was intended for some sort of
European radio slating device that flew
as well as the Spruce Goose. The socket
is not wired to anything. Ignore it. Or
mark it with a piece of tape to remind
you to stop at the drugstore on the way
home to pick up some more sunscreen!
Microphone Inputs
There are two mic level inputs.
The levels from both connectors are
controlled by the two pots (knobs) on
the face of the machine. Both inputs are
mixed together onto the samesoundtrack
because this is a MONAURAL re-
corder. It does not matter which input
you prefer to use.

© Copyright 2003 by Fred Ginsburg. All Rights Reserved.
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Guide to the Nagra 4.2 and
Production Sound Recording
Always keep the unused pot turned all the way off to avoid hiss.
The MIC inputs accept professional, low impedance, balanced microphones with standard XLR 3-pin
mic cables.
Nagra recorders can be equipped with a choice or selection of different microphone preamps inside the
machine to interface with different types of mics. Make sure that you know which type of mic preamps your
machine is equipped with, or else some mics will not work with your Nagra!
The basic mic preamp is known as the “QPSE-200-XOYO” and is found in most of the older machines.
This preamp is designed for low impedance, dynamic (or self-powered) microphones. This preamp works
with dynamic mics, electret condenser mics (that power from their own battery), and condenser mics (pow-
ered from an external battery power supply). The XOYO preamps do not provide any direct powering to
mics.The next preamp commonly found in older machines is the “QPM 3-5”. This preamp is designed to
provide 12 volt T powering to condenser mics such as Sennheiser MKH416/816 shotguns. This preamp is
incompatible with dynamic or self-powered mics! So although it may be convenient for powering the shotgun
mic, the 3-5 limits the soundperson from using a lavalier or radio mic.
I do not recommend using a 3-5 preamp because of this limitation. It makes better sense to use the
XOYO preamp and just tape a battery power supply onto the strap to power your condenser shotguns.
Newer vintage Nagra 4.2’s may be equipped with one or two
UNIVERSAL preamps. These preamps are user selectable for use
with any microphone (dynamic, 48 volt Phantom, or 12 volt T). The
“QPAUT” preamp is reserved for use in Mic Input One. It is control-
lable (and identifiable) by a selector screw located near the strap
mounting screw and above the speaker volume control. Clockwise
across the selector will read DYN 200, Phantom +48, Phantom
+12, and T +10. The DYN setting is for dynamic and self-powered
mics. Phantom +48 is for 48 volt Phantom condenser mics. Phantom
+12 is for 12 volt Phantom mics, which you probably will never use.
The T power setting is for condenser shotguns that use 12 volt T,
such as the 416.
If, and only if, there is a Universal preamp in Mic input One, it
is possible to install a second Universal preamp (known as the
“QPUT”) in Mic input Two. The
control for this second universal
preamp is located inside of the Nagra,
just behind the meter. You will see a
black plastic thumb wheel, with notches
all the way around. This black wheel
controls the second universal preamp.
The position of the wheel (unmarked)
corresponds to the labels on the selector
for Mic preamp One (the screw selector
on the side of the Nagra). Completely
counterclockwise would be DYN.
Completely clockwise would be T
power. The two Phantom settings are in
the middle.

Page 11
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EQUIPMENT EMPORIUM INC
Education & Training Division
Guide to the Nagra 4.2 and
Production Sound Recording
One last word about Nagra preamps. Although the configurations for DYN and Phantom are normal,
Nagra uses its own variation of 12 volt T power. Most T-powered mics, as they come from the manufacturer,
require 12 volt positive on Pin 2, and 12 volt negative on Pin 3. Nagras produce 12 volt positive on Pin 3
instead, and negative on Pin 2. So to power a shotgun mic from a Nagra, it is necessary to switch pins 2 and
3 inside of the mic (known as “red dotting”), or to use a phase reversing cable that accomplishes the same
thing. This is definitely confusing, but that’s the way life is. If you are not sure which way your mic is wired,
make sure that you bring a phase reversing cable with you!
ACC Socket
The next item on our guided tour of
the Nagra 4.2 is the Accessory Socket.
This socket is a 6-pin Tuchel connector (a
real pain to find in an electronics store and
a bigger pain to solder). The ACC socket
provides a line level input to the Nagra,
and the input level can be controlled by the
center pot on the face of the machine. In
addition to being a line input, the ACC
socket also provides 10 volts output for
the powering of accessories.
This socket is normally used for
connecting a mixing panel to the Nagra.
The ACC socket can also be used to
convert the line input into a third microphone input. Accessories such as the Nagra BS-II cable adapter
and the Sennheiser KAT-15U adapter plug in to this socket and provide an XLR input. The KAT-15U can
also provide T powering for shotgun mics.
Mixer Socket
Contrary to its name, we do not use the Mixer socket to plug in mixing panels! This 7-pin Tuchel
socket is intended for line level input of calibrated level. There is no means of adjusting the input level
when using this socket. It was originally intended for a custom mixing board to be built by Nagra.
However, the Mixer socket does have its uses. It provides a source of power out for use with accesso-
ries. It can be used to remote start/stop the Nagra with a simple switch. The Mixer socket can also provide
an audio output (monitor return) to a mixing board.
Banana Line Input
The two sockets located on either side of the Mixer Socket are the same line input as found in the ACC
socket. Although some people mistake banana style sockets for a pair of RCA or Mini connectors, both of the
banana jacks constitute only ONE input. Positive audio goes into one hole, and negative audio goes into the
other.Banana plugs are inexpensive to purchase and idiot simple to solder. One lead, one plug. For this reason,
many mixers prefer to use the banana inputs rather than the ACC socket for connecting their mixing boards.
The input level of the banana jacks is controlled by the center pot on the face of the Nagra.
Warning: Use either the ACC socket or the Banana jacks for line input; but do not use them both
at the same time!

© Copyright 2003 by Fred Ginsburg. All Rights Reserved.
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Guide to the Nagra 4.2 and
Production Sound Recording
Volume
This knob controls the volume of the internal loudspeaker of the Nagra. The speaker itself is located
on the other side of the machine (the output side). The loudspeaker only functions when the Nagra is in the
Loudspeaker Playback mode (the lowermost playback setting of the main selector switch).
Universal Preamp Selector Screw
On those machines equipped with a Universal mic preamp, a selector screw with labels will be located
just above and to the right of the volume control. See the section on Mic preamps for details.
Output Side of the Nagra (right side)
Loudspeaker
The loudspeaker is controlled by
the volume control located on the
other side (input side) of the machine.
Loudspeaker is only activated during
Loudspeaker Playback, which is the
lowermost playback setting of the
main selector switch.
Power Pack Socket
This is a 6-pin Tuchel connec-
tor. The external AC power supply
for the Nagra, known as the ATN, plugs into this socket.
The Nagra can accept regulated external power of 12 to 30 volts, although 18 to 24 volts is preferable.
External speed varier plugs in to the Nagra here. Frankly, no one uses an external speed varier on a sync
Nagra anymore.
It is also possible to tap into the
battery supply of the Nagra. We know of
an engineer who builds his remote start/
stop switch by taking power out of the
batteries, going through a switch, and then
rerouting the power into the external
power input.
Note: I do not recommend operat-
ing the Nagra in the field off of the ATN
power supply or any other mains power
supply. Anytime the Nagra is linked to
common AC voltage on a film set, one
risks power surges as well as noise coming
down the line. (How do you think those
plug-in room intercoms work?)

Page 13
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EQUIPMENT EMPORIUM INC
Education & Training Division
Guide to the Nagra 4.2 and
Production Sound Recording
Also, should the ground isolation of the power supply fail, your Nagra may go up in smoke if there is
any other AC powered equipment in contact (including audio/video connections) with the recorder. Nagras
are positive ground which is opposite ground of everything here in the U.S.
Reserve the use of the ATN mains power supply for use in the post-production studio where power is
clean.
Line Output
These banana jacks provide the audio line output from the Nagra. These are floating outputs, so plus
and minus doesn’t matter. One jack goes to Pin 2, the other to Pin 3 of an XLR connection. Grounding points,
if you want them, or located to the right of the line output jacks, just under the label “Pilot In”. If you are
connecting to an unbalanced plug, such as an RCA or phone plug, just connect the center or tip to one banana
jack and the shield or sleeve to the other.
The line output jacks are used when we transfer from the Nagra to another recorder, or when we want to
feed a studio amplifier for playback. The output level is 4.4 volts, which is pretty hot, so use your meters to
level things off. Remember, that 0 dB on a Nagra is equivalent to around +10 VU on other recorders. Set -8
dB on the Nagra to 0 VU on other recorders.
The line outs are functioning during record, and can be used to feed a video assist system during the
take. However, be forewarned that switching the headphone TAPE/DIRECT monitoring switch will also
affect the output signal from these jacks. Monitoring off of TAPE lets the soundperson confirm what has just
been recorded on the tape, and is a split second delay from live sound. Feeding video while in the TAPE
mode will result in the audio on the VTR being delayed and thus out of sync.
Pilot Socket
Pilot is short for neopilotone, which is
Nagra-speak for sync pulse.
Normally, there should be a capped
jumper plug screwed into this socket at all
times. This “crystal jumper plug” performs
the following function: it redirects the sync
signal from the internal crystal back into the
Nagra system.
What? Remember, the Nagra was
designed to accept sync pulse directly out of a
camera or any other device. The crystal sync
generator acts like a surrogate camera feed.
During record, the Nagra outputs the crystal
sync to the jumper plug, which then redirects
the sync pulse into the pilot in of the Nagra.
During normal resolve, the output of the crystal becomes the external sync reference.
But sometimes during the record or playback process, it is necessary to use a different sync signal for
the Nagra to lock up to, such as 60 Hz from an AC line, or 59.94 Hz for transfer to video, or camera sync
from a special effects/process photography system, etc.
The internal 60 Hz crystal is disengaged by removing the jumper plug, and a different sync signal
can be fed to the Nagra via this socket.

© Copyright 2003 by Fred Ginsburg. All Rights Reserved.
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Guide to the Nagra 4.2 and
Production Sound Recording
If the crystal plug is removed (or becomes loose) from the Nagra, and no other sync cable is plugged in
to replace it, then no sync pulse will be recorded by the Nagra. This situation will become apparent to the
operator because the pilot indicator flag on the face of the machine will not turn white, or may flicker!
Once sync on a take is lost, it cannot be added later. As my computer would say, “Fatal Application
Error”!
If the crystal jumper plug is lost, it is possible to makeshift a substitute by securing a wire or paperclip
between the pins labeled Xtal and Pilot In. Be careful that the repair is not intermittent.
The Nagra internal bloop slate is activated by passing 7 to 14 volts across the clapper pin and ground.
Presence of DC current will make the Nagra record an audible bloop on the soundtrack for slating purposes.
In the old days of umbilical cord sync cables, cameras such as the Eclair NPR were capable of produc-
ing their own version of clapstick markers internally. Every time the camera was started, an internal light
would flash the first few frames of film. Simultaneously, a current would be sent to the Nagra to activate the
internal bloop generator, putting an audible start mark on the soundtrack.
After the invention of crystal sync, documentary filmmakers began to use a silent clapstick known as a
bloop slate or flashlight slate. These were small boxes that the soundperson wore. Depressing a button on the
device would trigger a bright light that could be photographed by the camera at the same time that a bloop
signal was recorded inside of the Nagra.
Transport Lid Screws
Located just above the strap lug and on the rear upper corner of the Nagra are the lid screws. Loosening
these screws allows the upper Nagra deck to be opened, such as for accessing the second universal preamp.
Do not over loosen these screws, or their retaining nuts will fall into the machine. Just turn them enough
so that the lid will open upward.
Make sure that you are authorized to open up the Nagra. Some universities and rental houses frown
against their machines being opened, and seal these screws with enamel.
Facing Panel of the Nagra
Automatic Level
Control
Most machines do not have
the ALC installed, and this socket
is filled with a spacer plug. But
there are some machines so
equipped.
The ALC is automatic gain
control. The Nagra will adjust the
volume of either Mic 1 or Mic 2 automatically.
I do not recommend using the ALC for anything other than surveillance applications. ALC tends to
search for the optimum recording level of whatever the dominant sound is. It will aggressively ride gain on
dialogue, which will make the backgrounds very distracting. When there is no speech, the ALC will raise the
background noise trying to bring it up to the level of dialogue.

Page 15
© Copyright 2003 by Fred Ginsburg. All Rights Reserved.
EQUIPMENT EMPORIUM INC
Education & Training Division
Guide to the Nagra 4.2 and
Production Sound Recording
Headphone Jack and Headphone Volume Control
For best results when monitoring a Nagra, use a pair of high quality,
closed-ear headphones such as the Sony MDR7506 or V6, or the Audio
Technica ATH-M30. Impedance of headphones should be between 35 and
75 ohm. The Nagra headphone jack is monaural, so you will have to
modify the plug on stereo headphones or use a mono adapter.
Do not monitor with the headphone volume set too high, or fatigue and
possible hearing damage may occur.
To find the ideal listening level, begin with your headphones around
your neck but off of your ears. Depress the REF GEN button in the center
of the Nagra to activate a -8 dB reference tone. Turn the headphone volume control all of the way down.
Place the headphones over your ears and then gradually bring up the volume.
When the volume in your headphones reminds you of an uncomfortable telephone conversation (like
someone chewing you out), the volume is correct.
The key word is uncomfortable, as in “move the telephone handset” a half-inch away from your head.
Not painful, as in a heavy metal concert.
The level you have just set in your headphones represents loud conversation. (Remember, the -8dB
setting on the Nagra is equal to 0 VU, which is pretty close to maximum volume for mag film or video.)
Normal recording levels of regular dialogue should seem like a pleasant telephone chat with a friend. Not too
loud, not too quiet. Recorded shouts and screams should be irritating, but not painful. Whispers should make
you want to turn up the mic gain.
The ideal headphone level will vary from person to person due to differences in hearing and perception,
so do not rely upon the volume setting that someone before you may have chosen. Similarly, do not rely upon
the engraved numbers around the headphone volume control, since their value will vary from machine to
machine.
If you are serious about working in the media, then make an investment and purchase your own pair of
headphones. It is important to become consistent in your monitoring habits. Using the same pair of phones, at
the same personal volume settings, is essential in being
able to evaluate the quality of your sound.
The Meter
The audio meter on a Nagra is a modulometer,
which is a PEAK reading meter. Unlike the common
VU meters that measure the AVERAGE level of sound,
the modulometer only concerns itself with the PEAK or
loudest part of the sound.
It is sort of like the difference between an averag-
ing light meter that reads middle gray compared to a spot
meter that reads the highlights. The averaging meter
guesses at the range the film can handle and provides an
F-stop based on that assumption. The spot meter reads
the brightest part of the scene and gives you a precise
measurement.

© Copyright 2003 by Fred Ginsburg. All Rights Reserved.
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Education & Training Division
EQUIPMENT EMPORIUM INC
Guide to the Nagra 4.2 and
Production Sound Recording
In sound recording, we need to be more concerned with peak levels than averages, because it is the
peak level that will distort if recorded too hot. The modulometer lets us know just how close to the edge of
recorded distortion we can venture.
Think of it this way: the VU meter tells us how far it is to the warning signs and safety fence near the
ravine, but the modulometer tells us how far we are from the edge itself!
Although a modulometer and a VU meter will react differ-
ently to pure tone than they will to dialogue, for the sake of sim-
plicity the industry settled on an 8 dB difference (tone) when
lining up the two types of meters.
Therefore, and this is important to memorize, a meter value
of -8 dB on a Nagra equates to 0 VU on other recorders.
A reading of 0 dB on the Nagra would be nearly +10 VU on
other recorders, which is a very hot signal!
When we transfer from the Nagra to mag film or video, we
use a playback level of -8 dB on the Nagra to be rerecorded at 0
VU on the mag or video machine.
Conversely, if we connect a mixing panel or another recorder
to the input of the Nagra, we will align 0 VU on the incoming
source to -8 dB on the Nagra.
When you are recording dialogue, try to keep normal
conversation in the -8 dB to -6 dB range (around 12 o’clock on
the meter). Reserve the range near 0 dB only for extremely loud shouts, screams, or chairs crashing through
windows! If you record dialogue up near zero, it will be too hot (and distorted) after you transfer to mag or
video.
The exceptional recording and playback capabilities of the Nagra can be deceiving. Tracks that sound
absolutely great on the Nagra may easily distort after being transferred to an inferior medium such as mag or
video.
Audio on the Nagra will not distort until around +4 dB or higher on the modulometer. But you should
never get that loud unless it is a momentary sound effect.
The meter on the Nagra can also provide other data to the operator besides audio level. These will be
discussed later.
Meter Selector Switch
The meter selector switch is located to the upper right of the main meter. Think of it as a window to the
workings of the machine. Selecting any of the meter “views” does not affect
anything being recorded nor played back. The switching
process is silent and will not produce any pops or clicks
on the track, so it is okay to play with this knob during
recording.
The default position is LEVEL, which reads the
audio level. During RECORD, the meter will read the
incoming signal. During playback, the meter will read the
signal off of the tape.

Page 17
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EQUIPMENT EMPORIUM INC
Education & Training Division
Guide to the Nagra 4.2 and
Production Sound Recording
The BATT RESERVE position gives us a quick check on the condition of our batteries.
The VOLT/CELL position gives us an accurate check on the condition of our batteries, and is the best
way to check your batteries.
COMPRESSION applies only to the ALC, which you should not be using anyway. I think only the
service technicians have any use for this data.
MOT and BIAS are also for the service technicians.
PILOT FREQ is used in conjunction with the (optional) QFM frequency indicator circuit board that
may or may not be in your Nagra. A deviation of up to plus or minus 4% is indicated comparing the pilot
signal versus a 60 Hz crystal. In the old days, this was used to check the stability of camera fed sync pulse. I
have used this position to check that the internal crystal is set to 60 Hz and not 50 Hz.
PILOT PLAYBACK measures the sync signal on the tape. Mainly for the techs.
SYNCH is a very useful position. When a tape
is played back on the Nagra, and the Nagra is
equipped with an internal resolver, this allows you to
check the sync playback of your tape. When the
resolver is engaged (Loudspeaker playback position
only), you can check how well the Nagra is resolving
the tape by watching the meter needle swing. If the
needle remains steady and at 0 % deflection, then the
tape is rock solid. Slight deflection indicates that the
Nagra is adjusting speed to maintain sync. If the
needle drifts and does not return, then there is no
sync resolve.
Test your tape by slowing the reel with your
thumb while watching the meter. Release the tension
on the tape reel and watch how the needle bounces
back, as well as listen to the audible wow as the resolver locks up. Compare this performance to one with the
resolver OFF (use the first playback position).
RX and X positions are not currently used by the Nagra.
Filter Selector
Located to the lower right of the meter is the
low frequency filter selector switch. This switch
allows you some control in filtering out the lower
frequencies (such as wind noise and rumble) during
recording.
There are two types of filters, LFA (low
frequency attenuation) and HP (high pass). The
LFA have more of a gradual slope. The HP are
steeper and more severe. Listen with your head-
phones to the subtle differences.
Most mixers just use two settings. Flat is fine
for interiors. The combination setting
(HP1 + LFA1) which is boxed is good for exteriors. By just using these two settings only, it is easy to
achieve consistency throughout the entire shoot.

© Copyright 2003 by Fred Ginsburg. All Rights Reserved.
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Guide to the Nagra 4.2 and
Production Sound Recording
Input Pots The three knobs in the center control the input level for Mic 1, Line, and
Mic 2. Keep these pots closed if you are not using them to avoid hiss.
The Line pot controls the line level input from the ACC socket and the
banana jacks. Do not use the ACC and the banana jacks at the same time!
A word of advice. When using a hissy mixing panel with the Nagra, it is
quieter to raise the gain of the mixer by increasing the input level of the Nagra
than by amplifying the mics or output at the mixer. Remember, mixer output
lower and Nagra input higher.
Reference Generator
Located beneath the input pots is a small button labeled REF GEN. Depressing this button activates
an internal tone generator that produces a 1000 Hz tone at -8dB level.
This tone is used as a reference for lining up (adjusting the
input levels) of various pieces of equipment, such as other record-
ers. Remember that a tone of -8dB coming out of the Nagra corre-
sponds to a level of 0 VU on other recorders, such as a mag
recorder or conventional reel-to-reel audio recorder. When trans-
ferring to digital, -8dB on the Nagra equates to approximately -20
on the digital meter. But the metering systems vary a lot depending
on the digital device that you are using, so you may need to experiment to determine the best settings.
When you begin recording, a head tone of at least thirty seconds duration should be recorded at the
head (front) of every reel of fresh tape. While recording this head tone, monitor off of the TAPE position
so as to check the quality of the recorded signal. The tone should remain steady as you listen in the head-
phones. Major fluctuations in level are indicative of dropouts on the tape, which probably means that the
tape stock is defective.
Every time I open up a fresh case (20 reels) of tape for a production, I record and listen to one full
minute of head tone in order to quality check that particular emulsion batch. The presence of a dropout
problem on one reel of a batch leads me to suspect the rest of the batch. If I cannot replace the entire
carton, then I do a full minute check of every "suspect" tape roll.
During playback transfer, the playback level of the Nagra should be set so that the -8 dB head tone on
the tape plays back at -8 dB on the Nagra, and is rerecorded at 0 VU on the mag or other recorder.
The REF GEN is also used to mark the end of every recorded take. After the Director calls to
"Cut!", the mixer should wait another second or so (the editors appreciate the extra tail length to work with
in case of fade-outs), and then depress the tone generator twice to mark the end of the take.
The presence of the two beeps makes it easy to delineate between takes when fast forwarding or
rewinding. (I have been known to record series of beeps to indicate the take number on sequences of very
short takes. e.g. one beep, two beeps, three beeps, four beeps, five beeps.)
However, two beeps after a take is the norm for studio production. Note that while two audio beeps
denotes the end of the take on the Nagra, two blasts of the stage bell indicates a "cut" when using a "flash-
ing red light and bell" soundstage warning system.
Tape/Direct (Line & Phones)
This switches both the headphone feed as well as the line output between DIRECT and TAPE.
Direct means monitoring the signal as it enters the Nagra system. TAPE refers to monitoring off of the just
recorded audiotape itself. This is possible because the record head is before the playback head, so the
operator is able to literally “play back” the tape moments after it has been recorded.

Page 19
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EQUIPMENT EMPORIUM INC
Education & Training Division
Guide to the Nagra 4.2 and
Production Sound Recording
Monitoring off of TAPE is useful for verifying that a clean signal
has indeed been recorded. Just because an incoming signal makes it into
the Nagra is no guarantee that the sound has been recorded. Listening to
TAPE allows you to make sure that you actually have something on the
tape! The drawback to monitoring off of TAPE is that the audio heard in
the headphones is slightly delayed, meaning that what you are hearing
has already occurred in the past. This also means that you may be
reacting (mixing) to something that has already happened.
For this reason, most professional mixers will listen off of TAPE
during the clapstick of the scene to verify that their Nagra is working,
but during the scene itself they monitor off of DIRECT so as not to be a
beat behind reality. During a long (technically boring) take, a mixer may
flip in and out of TAPE briefly just to check on things.
Expect to hear much more in the headphones in DIRECT than in TAPE, since the range of the
incoming signal is not subject to the signal-to-noise limitations of a signal already on the tape.
There is one professional exception to the rule of not monitoring the entire take in TAPE. If there is a
chance of extremely loud, sudden noise such as a crash, explosion, or gunshot, monitoring off of TAPE will
protect your eardrums. There is a physical limitation to how loud a signal can be played back from tape, and
that is a lot lower in volume than the actual sound. That is why gunshots shown on the nightly news end up
sounding like mild caps instead of the deafening roar of a real firearm.
Remember, accidents on the set are not scripted nor planned. But the potential for accidents can be
obvious, and all precautions taken. I personally know of two Hollywood mixers who lost their eardrums
because their super sensitive mics amplified accidental gunshots that were not supposed to take place until
later in the schedule. A sincere “sorry” from the Assistant Director did not make up for their hearing damage!
The TAPE/DIRECT switch also plays a special role during playback. In the tape position, the Nagra
will playback audio at a factory set, fixed output level. In the DIRECT position, the output level of the Nagra
can be user controlled by means of the middle (Line Input) pot on the face of the machine.
Tape/Direct Meter
Directly beneath the headphone Tape/Direct switch is a spring loaded toggle for Tape or Direct reading
on the meter. Normally during record, the meter always indicates the incoming or Direct signal.
But if you wanted to meter off of the tape, you could hold this switch on TAPE. Personally, I can’t think
of a situation where you would want to.
Power
As previously discussed, this switch indicates whether the Nagra is taking its power from internal
batteries or external powerpack, such as the ATN mains power supply.
In the real world, this switch is used as a master ON/OFF control. External, when there is no external
power present, serves as the power OFF setting.

© Copyright 2003 by Fred Ginsburg. All Rights Reserved.
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Guide to the Nagra 4.2 and
Production Sound Recording
Main Function Selector When the main function switch is pointing to the nine o’clock
position, the Nagra is OFF.
The TEST position activates all electronics except for the
record circuitry. All meters and mic preamps are active. This is the
usual rehearse or preview mode.
The next two positions are for RECORD.
The first RECORD position stands for RECORD WITH
LIMITER. There is an excellent audio limiter built into the Nagra
that will prevent you from accidentally over modulating (i.e. “record-
ing way too hot”). This limiter does not kick in until around +4 dB,
so it should not affect normal recording levels (if your are anywhere
near +4 dB, you are way too hot!).
The second record position is RECORD NO LIMITER. It is
preferable to record without the limiter on loud sound effects such as
gunshots, since the distortion is part of the sound that audiences expect. Also, there will be a slight recovery
time after the limiter releases its hold on the audio, and that may affect backgrounds on the soundtrack. The
effect of the limiter on backgrounds may be more distracting than an occasional and very brief shout or
utterance that blows out on account of too much volume.
There are two PLAYBACK positions on the Nagra. The first
PLAYBACK mode is used for non-sync playback in the headphones
or line out. The internal loudspeaker does not function in this mode.
The internal resolver does not function is this mode. This playback
mode is used for private quick checks of the audio by the operator, or
for locating cue points for playback.
The second playback position is PLAYBACK LOUD-
SPEAKER. The speaker in the Nagra is now functional (if you do
not want it on, just adjust the speaker volume control on the left side
of the machine all the way off). The internal resolver is automati-
cally activated in this playback mode, providing that there is one
installed in your machine. (Not all Nagras come equipped with
resolvers, since they are not needed for sync recording.)
Fast Forward is only available in the PLAYBACK LOUD-
SPEAKER mode.
Pilot Indicator Flag
When this dial turns white, it indicates the presence of an incoming sync signal. This signal can come
either from the internal crystal sync generator or from an external source such as a camera.
This flag will function in the TEST as well as RECORD modes. Flickering or complete loss of the
white flag indicates a bad sync signal, and lip sync has probably been lost.
If there is a problem with your sync, check the crystal jumper plug on the right side of the machine. It
may have come loose and needs to be tightened. Or it may have fallen off and needs to be replaced.