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Glen Trew

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About Glen Trew

  • Rank
    Hero Member
  • Birthday January 1

Profile Information

  • Location
    Nashville and Los Angeles
  • Interested in Sound for Picture
    Yes
  • About
    TV/Film sound mixer since 1976. Still at it.

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  1. Glen Trew

    Zoom F8

    Hi David, Proper TT phone plug patch panels (TT is the smaller than the original 1/4-inch plugs, standing for "Tiny Telephone") may cause a short of the phantom supply voltage, but this is of no concern because the phantom voltage always has two 6.8k in-line current limiting resistors that keep the maximum current of a 48V supply at or below 10mA. I have actual TT patch panels in carts I made in the late 80s, early 90s, and I've been hot patching 48V phantom with them for 30 years now with no problem. Of the 3000 recording studios in Nashville, the more sophisticated ones have TT patch panels that route 48V phantom to microphones. This brings up a topic that deserves it's own thread about patch panels. Referring to XLR connector panels as "patch panels" is incorrect, as they are merely extension panels. "Patch Panel" refers to the ability to route through, interupt, not interupt, or connect. XLR panels can only connect, so, convenient as they are, they are not patch panels. That said, there are numerous advantages of patch panels, which will hopefully be realized again someday.
  2. Rycote Announcement: May 2018 It is with great sadness that we announce the passing of John Gozzard, who died at his home on 4th May 2018. John founded Rycote and, whilst his name might not be familiar to many, the company he started (named after his house, “Rylands Cottage”) is recognised the world over by everyone associated with location sound. John was passionate about sound and was a film recordist in the early 1970s, working for ATV and the BBC. At that time, newly emerging practical microphones, that were exactly what sound recordists wanted, were hampered by the heavy, cumbersome microphone suspensions and windshields available, which were typically made of metal, wire mesh and rug wool. John quickly recognised the need for something much lighter and more durable, and had the vision, determination and dedication to set about making this a reality. Using the down-to-earth ingenuity of the classic British craft-worker, he invented the plastics-based “zeppelin” windshield that is so widely recognised today. Ever practical and endlessly innovative, the early days saw John using mundane items, such as garden netting and fabric from the local haberdashery, to bring lightweight form to his new designs. John continued to apply his ingenuity with the later development of the faux fur “Windjammer”, and the almost indestructible “Softie” windshield. John was a true pioneer and, from such humble beginnings, a brand-new industry was born. John retired from Rycote in 1995, but the company, the evolved product, and the generic name for location-sound windshields remain as his legacy to the industry. John will be sadly missed and affectionately remembered by all of us at Rycote who knew him, and we will continue to hold dear his pioneering and practical approach, in the company that he founded.
  3. Glen Trew

    The "Less Suck" Fader

    In 1975 in Nashville at the Opryland music theme park on a show called "Showboat '75", I added to my array of three Shure SR101 consoles a pot labeled "translucence". The music director was amazed at the subtle artistic difference it made.
  4. Glen Trew

    Zoom F8

    I imagine that feature is to save on power consumption, the thought being that if the track is disabled, there is no need to have the 48V DC-DC converter on. Regarding the safety of plugging and unplugging a mic with phantom power turned on, there is no need for concern.
  5. Glen Trew

    Zoom F8

    I can't say that I've ever tried it, but usually the input settings are not at all related to track settings. The only way to find out for sure is with a phantom powered microphone or a volt meter.
  6. Glen Trew

    Sound Devices and Audio Limited merger interview

    Thanks for your help, Jeff, but the original image was just a still shot from the interview. The full written interview article with multiple video clips from the interview is now in the link in the original post.
  7. Glen Trew

    Sound Devices and Audio Limited merger interview

    Thanks, Jeff.
  8. Here's an interview with Sound Devices and Audio Limited about their merger and the new digital A-10 wireless system: https://soundandpicture.com/2018/04/sound-devices-and-audio-limited-discuss-their-merger-and-the-a10-digital-wireless-system-launch/ (this post edited Apr. 26, 2018 with proper link to the article)
  9. Glen Trew

    Schoeps MK41 capsule cleaning

    Good meeting you, too. Regarding the gold wire, I'm referring to the bent gold wire that goes through the nylon shroud to the diaphragm assembly (unless this is a design newer than I'm familiar with to).
  10. Glen Trew

    Schoeps MK41 capsule cleaning

    The super-fine gold wire contact seems to be missing. GT
  11. Glen Trew

    Sound Devices Wireless (rebranded Audio Ltd)

    Not a circle. That would take four lefts.
  12. Glen Trew

    Sound Devices Wireless (rebranded Audio Ltd)

    My contribution to NAB 2018.
  13. Any film/video sound pro will appreciate the unprecedented collaboration of sound and picture in the movie "Baby Driver". This article is an interview with Production Mixer Mary Ellis, her crew, and editor Paul Machliss, about what it took to make it happen. https://soundandpicture.com/2018/02/baby-driver-production-mixer-mary-ellis-and-editor-paul-machliss/
  14. Any film/video sound pro will appreciate the unprecedented collaboration of sound and picture in the movie "Baby Driver". This article is an interview with Production Mixer Mary Ellis, her crew, and editor Paul Machliss, about what it took to make it happen. https://soundandpicture.com/2018/02/baby-driver-production-mixer-mary-ellis-and-editor-paul-machliss/
  15. Glen Trew

    Sound sync advice using film 0.01%

    Hi John. I'm sure you meant 0.1% (.001x). Eric, assuming the film will be transferred to video for editing, it will probably be pulled down .1%, to 23.976. So that the sound stays in sync during the pull down, it should be recorded at a sampling freq of 48.048 (.1% faster), so that when it is pulled down, it will be at the desired sampling freq of 48K. However, it seems that the MixPre3 does not have 48.048 as an option, which is probably what your friend was trying to tell you.
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