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I was in an apple store on Saturday and looked at the new macbook pros. I was stunned at the lack of RAM. I put 8GB of RAM into my 5 year old MBP a few years ago, and at this point, with everything I do it's barely able to keep up. I'd have thought by new 16gb of RAM would just be standard. I'm also put off by the new ports. Only using that USB-C means I have to get some sort of hub or something. I have two external hard drives, an audio interface, and an external monitor that I use regularly. Does this mean that I have to run all that through a hub that only then connects to one port? I'm no expert on these things, but that seems like being on the 405 in rush hour and going from 4 lanes down to 1, and that never goes well.

I'm certainly glad it was brought up. Gives me a chance to promote this little product that helps with this very issue: https://www.bubblebeeindustries.com/collections/other-sound-accessories/products/bumblebee-industries-the-cable-saver

Once 192Khz became available on production sound recorders, all of us in the sound effects recording/sound design world used it and it was/is very helpful for sound design. I could do things with a 192Khz file that I couldn't do with a 48Khz file...mainly avoid artifacts and the like once heavy sound design starts happening. For basic stuff, like backgrounds, or hard effects that don't require a ton of manipulation, the higher sample rate doesn't matter, but you never know what your recorded sound is going to be used for, so we'd always record at the highest sample rate possible. For production dialogue, it is completely un-necessary. I can't hear the difference between dialogue recorded at 48Khz and 96Khz, and I don't know anyone who can. In the post world, time is money, and the less time spent moving files around, converting them, and doing whatever else needs to be done to make them workable the better, especially in the reality world. When I was on a reality TV show cutting effects, we'd sometimes be given an episode to start cutting sound on that was supposed to be on the mix stage two days ago (because they kept going through picture editors and changing the picture edit...that's another story). I wouldn't want to have to deal with file conversions when I'm supposed to be cutting and only have half a day or a full day to get the entire job done.

I'm in Murfreesboro (about 40 minutes south of the Nash), but I work from home and don't really do production sound (I'm with Bubblebee). Steve Grider is another local you could talk with. Also, talk with the folks at Trew Audio in Nashville. They might be able to give you some other contacts and will have a good idea of how much work there is in town. We've been here for 2 years. Moved from SoCal. It's one of the best places we've ever lived. No state income tax and your dollar goes a LOT further.

We are really excited to announce that we are now taking orders for our new Spacer Bubble. Think of it like our current Windkillers but with removable fur. It is available in all of our standard Windkiller sizes. The removable fur makes it easy when going from an exterior to an interior, as you don't have to completely change out windscreens. You just remove the fur and keep moving. The mesh covered foam stays on the mic and is extremely acoustically transparent. Check it out on our website and talk with your dealer to get yours reserved. We begin shipping within the next week or so in the US.

For the short amount of time I was doing production work in LA (bag based work) I got everything into my WWII Swiss army pack (the thing was cavernous. I could get about 5 days worth of clothes in it if I packed light), and I rode my motorcycle everywhere...but this was LA where driving took forever and I could split lanes and I could ride year round. I would get to the gig and people would be amazed at how much gear I could haul around on my back and not have a giant hiking backpack. It was like I was doing a magic trick pulling gear out of the thing. The only downside was is if I was on a gig that required a lot of XLR cables this wouldn't work (when I was doing a lot of sound effects recording). Then I used my 2007 Nissan Quest, which I still have as a family hauler and it's still running great to this day.

Very wise words. I've always been of the mindset that if my current setup is working fine, then I don't change it in terms of firmware. It's the old "if it ain't broke, don't fix it" addage. I learned the hard way once WAAAY back when I "updated" quicktime that it completely jacked my pro tools system.

Bubblebee is very happy to announce our Big Mount Windkillers. These new Windkillers are available in two sized, and are specifically designed to work with the MKH40/50/60 microphones. Check them out on our website and contact your local dealers to get yours! https://www.bubblebeeindustries.com/collections/wind-protection/products/bubblebee-industries-the-windkiller?variant=21094237059

We have been working on a lot of new products at Bubblebee Industries. One of the new things is the new Short Hair Windkiller. You can check it, and many other products out, at https://www.bubblebeeindustries.com/.

Do they make you assemble the charger?

guy was just on a completely higher level than most musically. His funk stuff..man.. My sound engineering professor in college did some work with him, and he said when Prince was doing the actual recording he'd have my prof sit out on the hall because he didn't want people to hear what he was recording. If there was a technical issue he needed help with Prince would have my prof come in and solve it, but then it was back to sitting in the hall and waiting.

I was going to say the same thing.

Someone just posted about this on the freelance FB page and then I found this conversation here. I'm really curious how in the world these even got made. For those that worked on this, did you know what you were getting into a head of time?

"It works, except for when it doesn't" -Just about all of us

Hey everyone! Between now and April 22nd BubbleBee running a contest. Anyone who "likes" our facebook page is automatically entered into a drawing to win a free Windkiller of your choice AND a set of Twin Windbubbles of your choice! There will be 5 winners. Spread the word! https://www.facebook.com/bubblebeeindustries/

You can get some poles cabled with a 5 pin xlr stereo cable. You could then split it out at each end of the pole as needed.

For some reason the name "Olmec" popped into my head when I saw one of the pictures. I think it reminded me of that Nickelodeon show "Legends of the Hidden Temple" that was on when I was a kid.

I get these scam emails all the time. I've always just ignored them.

No. having your production sound person do all your post is not completely unheard of, but it is also extremely rare. I did mention a production sound person, and then I said "post sound people". Usually the post people is a separate group of people. On a typical shoot, the production sound mixer does their job, then moves on to the next project while the first job is in post. I personally have done production sound and post sound, but that was a very rare occasion in the video game world and I had the unique set of skills to get it done efficiently on a very a-typical type production (for the time, anyway), and even then, on the post side of things, we had a large team to get it all done. I know that's unrealistic given your budget, but what my point was is that in the end, on your last project, you ended up paying for sound in the long run because you said the cost to clean up the dialogue in post was expensive. You experience exactly what John Blankenship was talking about...if you think hiring a professional is expensive, try hiring an amateur. Another point I was making is that getting good production sound frees up your post sound team to be creative. A post sound budget only covers a certain amount of time. Your team can spend their time fixing stuff, or they can spend their time being creative and adding to your project. And related to all of that is the core point...in order to increase the level of what you are doing you need to realize that you'll need to make changes in terms of budgeting and scheduling.

So you ended up paying for it in the end. As a former post guy with some production experience (and now in manufacturing), I can tell you that you will save yourself a LOT of headache by getting someone that knows what they are doing to be your production sound mixer. Would you hand over your camera to someone who doesn't know how to use it? If you get a knowledgable sound mixer on production, you will save yourself from possibly having to do ADR (with the above mentioned suggestions) AND your post sound people can spend their time doing what they are supposed to do, actually edit your dialogue, record your Foley and edit sound effects, and then do a final mix. If you are paying for someone to fix bad dialogue, you won't have money for the other things, and in the end your sound is STILL not good. I understand your scheduling issues and budget issues, and I used to run into this kind of thing all the time when I was just starting out as a freelance sound editor. I was lucky enough in the start of my career to be able to learn a lot from the very professionals responding to you right now in this thread, and one thing I learned very quickly, is that getting better results requires time and a proper budget. There is no magic bullet that will solve your current issues unless changes to scheduling and budget happen. That is, of course, unless everyone involved on the project happens to be experts in their field, has very flexible schedules, and is willing to work for nothing, which means you'd be relying on friends that have the skills you need for these positions.

The Invisible Lav is really designed as a physical buffer between the lav and clothing. I guess it does provide some measurable form of wind protection, but that wasn't the initial thought process in its design. The invisible tape, which is available by itself, can be used for lots of different mounting techniques. If you need more wind protection, you can get the "Piece of Fur" which is literally a big piece of fur that you can cut to the desired size and use however you need, so you can cut off pieces for use with the Invisible Lav Tape. Both the fabric in the Invisible Lav and the Piece of Fur can be re-used multiple times.

Are you saying the cable of the lav seems to thick to work correctly? If you have one that broke we'll need to get you a replacement. Well, if you ask me you might know what I'll say. We wouldn't put out an inferior product.

I'm no longer with K-Tek. I'm with BubbleBee and Sound Guys Solutions.

Make sure to set aside some time for deep dish pizza.