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About tourtelot

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  • Birthday January 1
  1. Oh yeah. All us old guys had one D.
  2. As the legend Jim Webb said to me on a job in the 1980's sometime, "Doug, they just don't make movies like they used to." Nothing new to out complaints. D.
  3. This is a very under-used function of a figure-of-eight mic. Good reminder! D.
  4. Just so everyone knows, my "tease" was a high-five to digital; I remember the days of double 24-track 2" analog with 14" reels that we would over-lap as to not miss a note of large rock concerts. My 24-track rig is for recording music; it's not small and doesn't fit on a cart Grace Dante preamps, JoeCo recorders, Lynx Dante converters for True P8 preamps. Up to 24-tracks (actually could do 32 with a submix of some sort) at 96k with the control room and the stage/studio connected by one piece of Cat5e. With an in-line switch, 200m apart is possible and with fiber, up top 10 kilometers! Network cameras on the stage, talk-backs, playbacks, cue-sends, etc. Lots of SKB racks stacked up to the sky. Used it to record a choral CD that comes out in November. More complicated than my usual rig; a SD788T and two, maybe 4, mics. Sometimes simpler is better. D.
  5. "Roll out!" D. Speaking of which, I am stress-testing my 24-track Dante rig, and I recorded 24 tracks for 8 straight hours with not one error. 8 hours of 24 tracks! D.
  6. I love that Larry Fisher!! D.
  7. For music, this makes some sense. I don't normally worry about it if, let's say, the main pair and the flankers are a few feet apart front to back. But "verb" pairs or soloist pairs in far distant parts of the recording space do get treated. There's a Pro Tools Plugin to do this automatically but it's a bit fiddly. I just use an old pair of clap-stix I had around and clap them under the main pair. The "snap" shows up prominently in all the tracks and makes it super-easy to align by eye. A producer friend of mine turned me on to that trick D.
  8. It took me the longest time to discover what the cause of the audible beating that I heard in lav'd actors; this is in the 1980s, way back when. We were shooting this scene where the actor stepped out from behind a glass office partition and then moved back behind the glass a couple of times. The interference would come and go as he stepped each way. From then on, I knew what that sound was and had many, many conversations, calm to, well, not so calm, about turning the Panatape off or at least down. Sometimes it got fixed and sometimes it didn't but at least I had something to write down in my log. Often a nightmare. Oh, and trying to convince an operator that putting an optical flat in front of the lens of an MOS camera would reduce the noise. Those were the days D.
  9. Three months to turn it around is a long time to be without a mic. I send mine back two or so at a time for preventative maintenance, but it's one reason that I am more likely to use a Sennheiser (Connecticut) or even a DPA (2-weeks to Denmark and back). That's a long time. Not much of a choice, alas. D.
  10. And FWIW, many devices will start to lose headroom when the voltage drops below the "running" voltage. That means that they will appear to work but will be much more susceptible to overload and distortion due to not enough power. D.
  11. I wouldn't remember it if it is. That's a long time, and many recording days, ago. D.
  12. San Disk for me in my 788T and I don't believe I have EVER had an issue relating to cards. D.
  13. wireless

    I used 21 and 22 for years in PDX without any problems. That was a while back, so I don't know these days. Sorry. D.
  14. But. . . . Better gear will (may?) make your work days less stressful, so if you have the money. As I like to say, the most bombproof purchases are always microphones. The lose their value slowly. FWIW. D.