maplecap

Well, you'd only be dealing with one cable in that scenario, and you're holding its source and wearing what it's connected to. Unless you're likely to hand it off to someone else sometimes, I think the risks and complexities of the additional wireless in that situation outweigh the convenience. About 25-yrs ago, out of necessity, doing reality police TV, running and gunning with a crew of two (camera and sound — sometimes I'd be camera, sometimes I'd be sound), I would often tape a phantom power unit for a 416 and an early Lectro Tx onto the boom pole, even if I was wearing a bag with a mixer. Obviously an extreme example, where things were "hairy" and hectic. (Big and heavy cams back then. Getting in and out of cars fast, getting tossed about during pursuits, running and jumping fences, etc. Sometimes in snow and ice. All while wearing "bulletproof" vests, and maybe some atypical things on your belt.) With wireless lav(s) on cop(s) and me booming and "mixing" and sending wireless to camera, this allowed me both the safety of not getting literally tangled up in a truly dangerous situation, plus the option to ditch the mixer altogether.

Inspect the handles of Pelican 1300 cases with SLA batteries in them and make your own determination. Look at what's holding the approx 30 lb weight. It was obvious to me from the first time I picked one up that the total weight is considerably higher than the case was designed for. When I saw the dinky pin on mine working its way out under light use I knew it was real safety issue and decided to correct it. Btw, I've had to reset the much larger handle pins on big Pelican cases countless times. The're just pressed in and work their way out. I use a large, smooth jaw adjustable pliers for that. And I've had the latch retaining pins pop out lots of times, especially on 1600 cases. I used to have a bag of extra pins and latches from Pelican that would travel with our gear all over the country for inevitable field repairs.

Using the Pelican 1300 for a batt case is pretty common, and several sound houses have long sold custom assembled ones. However, it has been my observation that the resulting weight clearly exceeds what the Pelican 1300 was designed for. As such, I've always been attentive to the pins that hold the handle to the case, which can be problematic on Pelican cases in general but pose a substantial safety concern here. On the 1300 the pin can easily work its way out of one of the two thin blades of plastic on each side of the handle, and you might have a drop occur. You do not want the battery-loaded case falling on your foot or anyone else's. Here's a simple mod I did to mine. I replaced the measly stock 1/4" diameter pressed-in handle pins with 1/4" low clearance bolts, washers, low clearance nuts, and cotter pins to keep it all safely attached. I used aerospace surplus hardware from Luky's in North Hollywood. You could also use an appropriate length clevis pin and hair cotter pin. On the current version of the case you need to clear 0.66" inside plastic, but you don't want the head or fastening hardware interfering with space under the handle or the use of the latches. After the modification pictured, when the latches snap down they do contact the nuts but are not impaired and are fully seated. The cable ties are on the case simply as an additional safety measure. Btw, I've read warnings about potential battery outgassing while charging, but the automatic pressure valves used on Pelican cases in recent years are designed to allow air out but not in. I would expect that should suffice as a safety vent, but it would probably be wise to crack the case when charging. Anyway, with this mod I have confidence that the handle won't come off when carrying the very-heavy-for-its-size case.

Competition reality show for the Food Network, traveling with six camera/sound/producer teams, has added a scenario for Saturday 05/19 in Amarillo TX. They now need an additional sound mixer for Saturday. Production is willing to fly in a mixer from a larger, nearby city, such as Oklahoma City, Dallas, Albuquerque, Denver, etc. Would probably travel Sat AM. Rate is 450/12. Per diem provided. Production supplying all equipment (I have reviewed the sound gear inventory and see Sound Devices 552 mixers, both Lectro and Zaxcom wireless, Sanken lavs, Senn MKH 60 shotguns and K-Tek poles). (Edit: Contact info deleted as this is no longer current.)

I agree about past experience and preference/familiarity with different manufacturer's products being relevant. That's why I had also posted the same thing that you did here; it's not a no brainer until you play with it yourself and compare it to other options. My point, of course, was for the OP to get his hands on it first, if possible. Don't buy on hype. Just like test driving a car, he might not like the model that others are fawning over.

I can tell you, but then you can't tell Rado. That's one of the only rules for membership in the special group. (And there's a lot of members.)

Rado, I think you might have mixed up your pills tonight. (Again.) Sorry, OP. Apparently Rado can't take a little humor at his expense. (Even when he invites it.)

Wow.

It's one thing to have an informed opinion and a personal preference. But making a general statement that the 744T is outdated and not practical is absurd. However, you do change your mind an awful lot, so maybe that's just the latest gear purchase rationalization. .

Absolutely not, IMO. Unless you've personally played with one and compared it to other options, a considerable expense like that or selecting such an important piece of gear should probably not be a no brainer. I was very disappointed with the Nomad when I played with one. I found the sharp chassis edges to be unrefined and unacceptable, and in general I did not not care for the feel of the unit. Operationally, I found it to be unintuitive and disliked the interface. It may be a very capable recorder and might be ideal for some people. But for me, well, if I were to make a Mac/PC analogy, I'm a Mac guy and the Nomad felt very PC. That's not a potentially controversial analogy, is it? Anyway, my first impressions of the Nomad, hands-on, just reaffirmed my appreciation of Sound Devices gear. Your mileage may vary.

Personally, I wouldn't consider plastic lenses "fantastic optics," and most of their stuff is polycarbonate. Randolph Engineering has also long manufactured the same type of sunglasses for US government and military pilots, and they're still made in the USA, with glass lenses for relatively low prices. Ray-Ban was a supplier, as well, when they were made in USA. A lot of that is marketing babble. Imported polycarbonate lens Oakley's are doled out to troops in Afghanistan. But they, and pilots, can usually wear the glasses they prefer or carry the light they prefer or the knife they prefer or the watch they prefer - though often with restrictions.

I recall that I experienced occassional radio interference with my TR-5s when they were wired with some lengthy Mogami TRS cables from a Motu 828. When I changed over to a DAC I wired them with some old AudioQuest Ruby one meter RCA interconnects that I had and haven't experienced that issue since.

I was a fan of Event near field monitors and have used their TR-5 bi-amp'd monitors for years in a home workstation. Mac --> Beresford Caiman DAC --> Event TR-5 monitors. I've listened to a lot of music through them and haven't ever heard comparably priced, small-ish, powered monitors that I thought sounded better at moderate levels. The TR-5s do not impress at high volume, though. If the TR-6s are in good condition and you can get them at a good price, give them a try. If you're using something else, maybe since he's your buddy you can audition them in your setup before buying. Btw, both the TR-5 and TR-6 monitors were made in USA.

It's not a backup if it's on the same card.

Yeah, I was going to point out that there's only one shark fin antenna on the list, not a pair.

Silly and crazy? What about safety/redundancy? Or time code. Or... I've owned various setups, including 442 and 744T combos. I settled on the 552 and 702T combo (with 302 backup/additional). This affords recording redundancy (with the added safety of being two separate devices), reliability (no mechanical HDDs), less RF pollution (based on my own testing), modular config (can use one or the other in different situations), etc. This would be for conventional narrative, commercial, docs, etc. production sound. Obviously not reality TV.

Robby L is the SCAMMER

I explained the problem with the ones I own in two posts above, from my perspective: My criticism is not related to functionality. But practically speaking, oozing oil and grease, they do not meet my gear standards. My intention is to remedy the issue. Some people don't care or aren't bothered by this type of thing, and I understand that. But to me it's unacceptable on a product that one is handling while also handling high end microphones, mixers, and other sound tech. Especially being an expensive and otherwise pretty refined product. To make an analogy: oil and grease is necessary on/in countless components of our automobiles, but I'm sure you would agree that it would be unacceptable if we got it on our hands when opening the door, holding the steering wheel, shifting gears...

That occurred to me. One downside, though, is that if some lubrication is sensible or necessary, I won't be able to apply it properly after that. I suspect that a small dab or two of white lithium grease between the internal rotating piece and the housing is ideal. But as they are now, you can't even handle them without getting oil and grease on your hands and on the taper stubs when inserted. I would really like to just take it apart!

Malcom, the Ambient Quicklok is not a boom pole... It's a quick release accessory for use on any boom pole or other 3/8-16 stud. Here's Trew Audio's page on it: http://www.trewaudio.com/ambient/quicklok/

I've got a hang-up about mechanisms that are over-lubricated, or unnecessarily lubricated. Oil and grease is messy and can be problematic with gear like this. I have some Ambient Quickloks, and they're a double whammy: mine are both saturated with thin oil that keeps migrating out and overly packed with what appears to be white lithium grease. It was my intention to dismantle them, thoroughly clean them, and then reassemble with minimal or (pending an experiment) no lubrication. However, I didn't get very far... I removed the set screw that is used to damage any 3/8-16 stud. Er, I mean secure the Quicklok onto a boom pole or other item. With that removed, the black piece below the anodized body pulled off. Under that there is a stop screw (a smaller set screw) that limits the rotation during operation, which I've removed. But after that I've been unable to get it apart. I note that on the base of the rotating insert, on opposite sides of the female 3/8 mounting hole, there are two holes, which I presumed was keying for assembly with a small spanner wrench or snap ring pliers. But using a proper tool I've been unable to do anything with those. So I thought I'd ask... Has anyone here disassembled one? Thanks

Consider the most sensible choice, based on general consensus and opinion, and don't get caught up in more esoteric and subjective views. Neumann and Schoeps, for example, are great mics. But I think that more often than not, you will find that these mics are in use by professional mixers who have a large arsenal of additional and backup mics. On the other hand, Sennheiser MKH mics have long been standard professional shotguns and are widely regarded as being more durable than those makes. And there are other options today, like Sanken, which are also well regarded by many. For production sound gear, I've always ended up parting with the Neumann mics I've had and stuck with Senns. It's not because the Neumann's aren't great mics, I'm just trying to be pragmatic. What's the best tool for getting good sound and working reliably in potentially harsh environments, and considering all possible costs? In discussing mics with a good friend of mine, a well-regarded production mixer and member of this forum, he has suggested that by the time the dialogue sound has made it through production and post and into a final product, it's not likely that anyone could identify what microphone was used on location. I think he's right. And since locations are usually less than ideal sound environments, getting good sound with a quality mic is more relevant than using the most wonderful mic you ever heard in a clinical test. If someone could only have one good shotgun, without a backup, I would have to suggest a Senn MKH. That doesn't mean that I think it's the best mic of those mentioned, but perhaps the best choice.

That would be "ordnance." (Sorry, a pet peeve word.)

Jim, just to be clear, I chose the word "artistic" and put it in quotes to use in the context of typical narrative or creative cinematography or videography, where the look is not necessarily supposed to be photo-realistic or what the human eye sees. Slates are usually shot during that process, with filters in place and dramatic lighting, etc., and thus any color calibration or reference chart captured while shooting a scene is often pointless for its conventional use. And, as I said in my first reply, potentially dangerous.

I suspect you haven't encountered that item because it would not be particularly useful or practical in most professional "artistic" production. Generally, the point of shooting color or other exposure and test charts is to use them as a point of reference and calibration in post; analogous to a 1K tone in sound. During actual shooting the DP or videographer purposefully alters exposure, employs filters or camera settings affecting color accuracy, uses lighting of varying color temperature, etc. Slates are usually shot in the process of "creativity" and are not shot "accurately," like a properly lit chart in prep or on the head of a roll or whatever. Just being able to read a slate in post is success. In focus, well lit, perfectly exposed, and so on? Sure If one was shooting run and gun doc style work, something like that might be of benefit. Or if you just want color sticks and you want them to mean something, of course.