MartinTheMixer

But you said you weren't. And then you did.

Hello, all. Nomad 12 won't turn on aes42 mics on input one. Both aes power switchs are flipped on. Anyone care to guess why it won't work? Thanks in advance, Martin

Well, tell us why your not saying anything.

Ninja, I was pulling an Emily Litella. I'm sorry.

If the tribes are indignant, why even record?

What is this external power supply of which you speak?

I know I'm late to the party, but reference the DPA 4063, the new ones don't appear to have problems, but some from 2013-2014, we're terribly noisy with Zaxcom, to the point of being unusable.

You had asked in a previous post "does that work in English?" That would lead most to think you were in doubt about something in English.

So many of the people today couldn't work in the film Era of say, 1960's. I had a director who was just ADD. I checked the display, twice he had sound rolling for 2:26 before calling action. Do you know how much 2:26 of film cost? Holy cow. And the recorder today is in reverse of the tape days, mine is set to go back 8 seconds. So at least I can cover an 8 second mistake by the director.

I think them not being goofballs would have been nice. It was a mess.

Just reading this older post. I had a job about a month ago, I guess the director would whisper roll to the cam dept. , the first thing I would hear is "background action", and I would hurry up and hit record. After several scene/takes, the director looked at me and said "sounds rolling"? As if he had just had a revelation that there was a sound person recording on the set. I think that was the only time that day I got to acknowledge that sound was speeding. Several times, I would ask if we were cut, and someone would go figure out if camera was cut. I guess it was a secret. That job was the most screwed up scene and take names I ever did. Sometime I would still be rolling and they would start another take. They would fix something, wardrobe, whatever in the middle of a take and would have no idea if they were cut. What a mess.

Jeff, Thank you. I have taken devices apart before and been really surprised about how pitiful a job the maker has been at heat sinking. I switched from one mixer/recorder to a different one, and the heat went way down, along with wattage usage. Until I switched to the more efficient mixer/recorder, I was considering a huge heat sink attached to the top of the device. I had already inquired with the manufacturer about doing this, because I was concerned about sending all that heat in one direction. That last sentence is poorly worded, but I will leave it there. The manufacturer indicated this would not lead to new problems, but I changed devices, so I did not make the mod.

If you guys (and girls) could weigh in. What is it about the heat that has you concerned?

I was addressing anyone reading this, and I am not aware of a question. "I would be curious" is not a question. "I wonder is McDonald's still serving horrible "food"." Is not really a question, I guess it could be a rhetorical, we know the answer. Maybe it got lost in translation.

Tony, ok, gotcha. Can't you power it with whatever powers your bag or cart?

I would be curious to see how the one on ebay compares to the particular test piece here. Are you saying the amount of current pulled was 1 watt? How was that measured? Yes, me too. When I was a kid the microwave ovens really put out a lot. Made me not want to stand in front while it was cooking.

Less than a watt and a half? I doubt there is any heat. Tony, What does "elegant" mean in current draw terms?

Why not just get on Ebay and buy one?

Hello, I think you should get equipment for as good as your going to get at audio. I should have expected this, but didn't. There exists the same problem for people in the audio business as there was for people in the photography business. A lack of the ability to learn what is needed. I would have a photographer see a print of mine and ask who the printer was. I would tell them that I was the printer, and invariably, they would ask if I would print their negatives for them. I tried that once. The print looked bad because their negative looked bad. When I shot, I shot for the printer, which was me. When I record audio, I record for post. The real problem is that a lot of people want to do all the exciting stuff, working on a set, but don't, can't or won't do all the boring reading for hours, all alone, reading really unexciting stuff about the mechanics of sound on a Saturday night. They are out having fun. And since they don't learn all the boring math and the non-sexy stuff that it takes to do sound, they think whatever they think; there is not enough business, no one is hiring or whatever, they quit, and go work at Walmart, then there they are, at Walmart on Saturday night, not having fun, but at least they aren't stuck reading boring technical manuals. Right?

I think I agree with most of that, but I would not want a 416, I would get a Sanken CS3E instead.

Yes, it is a cousin of the getting gigs discussion for sure.

You are talking digits, which I never shot on. Yuck. I am referring to film. What you are referring to is the daily "here is the new gizmo camera of the week". That didn't exist in film. I could go shoot right now on my 1990's film camera and it would look better than this week's digi gizmo camera. Especially with black and white.

All of the above is correct. The painful part that I was told about, but yet couldn't believe, that I learned from one of the big mixers, is how little sound people make. I mean mixers, not people of sound mind. So, I switched from being a photographer that made more than mixers make, because if you wanted a particular photographers style, you paid that photographer, or settled for what you could afford. Here is where I get in trouble, Sound isn't the art that photography is. I can look at many photos, and based on, the paper, the film used, the contrast, the way it is composed, choice of lens., depth of field, whether the blacks are black, or brown chocolatey, I can tell who the photographer was. If you want that look you hire that guy, or girl. But with sound, the producer says "we need good sound", that's it. Great photographers make in an hour what mixers make all day. That has been hard for me to believe. All can weigh in on this, but how many times has someone looked at hiring us for their 20k-80k project, and you check with them later, and they can't make a final product because the sound is horrible. But over and over they repeat this mistake. As we speak, some poor slob is paying a "mixer" $100. A day, with no comteks, too tired for Daileys at the end of the day, only to find out long after wrap, since they weren't listening to what the "mixer" was getting, they have a movie all ready for 30 days of ADR. Everyone that wants to shoot something knows they need a Red whatever model is popular this week, but yet they think an h4 and a Rode will win them the Oscar.

Yes, to everything Jim said.

Hello, I am saying, probably, that I would just only take jobs the 552 would handle. It might sound like I am being a snob, but ya know that dream people have where they show up to high school and realize they forgot to wear pants and everyone is laughing at them? If I owned an F8, I would be afraid to show up with it, because they would be like "Hey, go get the gaffers, they gotta see this, he's got a zoom." "Oh, and tell warddrobe, they gotta see it too". And then, in that dream, the crafty, who has an Indian accent, says, "zoom, yes, I have one in the car, if you need a spare". Again, the chef doesn't take jobs cooking on an electric stove.