Tom Craca

And to think I almost (almost) invoked the Senatorial clause. All good. I use a Mackie 1604 VLZ occasionally and have to use the 12 inserts to get iso's to my 664 as the direct outs are already in use. I have always been interested in a 01VU96i but haven't come to terms with how to get the iso's out (non signal interrupt) and not using any sub groups or aux's.

Hey Smartypants.... I was asking the original poster how he was planning to get 12 tracks into his 664, using what routing and output connections... does the manual tell me that?? If it does... my apologies for wasting your time reading this post.

Just curious, as I don't know that board too well, how are you planning on feeding 12 tracks out of that board (as direct outs I presume)? All I see are the inserts on TRS and no direct out or sub outs?

Rob... I hate the one click idea. Makes me nervous with cables moving. Tom... I agree but rarely use it. This is just a rare situation where I need the benefit of fader control, 1-8 going through a Lectro AM8, 3 other sources for a mixdown track, and I still want iso's of all.

Here's another hair brained idea... what if I just take a 12 channel XLR to 1/4" TRS snake and either a: solder the tip & rings together on the TRS jacks to send the signal back into the insert, or b: just cut off the tips so that the fully inserted jacks only engage the send? It might be safer and quieter to not engage the return ( option b )

I think that adapter will effectively "tie" the tip and ring giving me the desired effect. Just wanted to make sure I'm thinking about this right.

I have a 1604 VLZ Pro. I need to use the inserts as direct outputs (no signal interruption) All my cables are Tip-Ring-Sleeve and I don't want the unreliability of a one-click insert. I don't have time to make up new cables. Can I use a 1/4" Mono - Stereo Adapter (i.e. http://www.amazon.com/Hosa-GPP-419-Female-4-Inch-Adapter/dp/B001JYSMV0) fully inserted into each insert jack and then fully insert my Tip-Ring-Sleeve cables into that? Will the adapter combine the send and return, thus allowing the signal to pass back into the channel path on the board, and then send the signal (direct) on the tip of my cable fully plugged into the mono female jack on the adapter?

I am still very happy working out of this bag and I really don't have very much trouble accessing the CF and SD cards either. I do have to unplug the TC hirose when I'm grabbing the CF card. I do not use the CL-6 but I do carry 3-6 RF's in the main compartment with the mixer and a BDS box. It stands just fine for me and I can tilt it back and have it stay at a modest angle too. I wrote a review for Gotham a while back. Check it out: https://www.gothamsound.com/library/first-look-petrol-ps617-deca-lightweight-audio-bag

Nice. Love the app!!!

I first used the thick portabrace one from an old field monitor bag. While it was comfortable to pick up and carry, I found it a little too big to lay down on the bag. This is what I use now and perfectly happy..... not like I'm walking to work with it like a briefcase. Just enough to move it from place to place, and not add any weight. http://www.bhphotovideo.com/c/product/149435-REG/Domke_725_53B.html

I've been using the Nexto DI and I love it. Pop the card in, sometimes twice a day to save time at the end, and after the shoot, I give that to the DIT with a firewire cable to drag off the files. They never touch my cards. You just have to remember that if you can continue to write to cards that have been copied, and it will just sync the new files, but if you put that card in a computer, the Nexto will think its a new card and copy everything again. I like the size of it, the fact that it is battery powered too, and most importantly that it leaves me a copy, plus on my machines, and no one touches my cards. Never had a failure.

I don't have any difficulty getting the card door open, but I do have a hard time grabbing the CF card with the TC Lemo still plugged in. I have the CL-6 divider panel between the 664 and the lectro's and BDS and the BDS is clipped to the 4th (right most) elastic strap attached to the front wall of the main compartment. The far side of the divider panel sits between the BDS and the 664 body and sometimes the top of the BDS does touch the mixer; I might add a piece of moleskin or something, but it doesn't concern me now.

Thanks Chris. Get in touch with Christina at Gotham Sound, I believe she has (or had) some in stock and you could go get your hands on one. Cheers and best of luck.

I just finished a review on this bag as well and it's on Gotham Sound's web site. I also believe they have them in stock now too. Check it out! http://gothamsound.com/main.shtml?page=petrol-ps617-review-tom-craca

Everyone keeps harping on the "no handle" thing. That's the most easily remedied complaint. I agree, you need a handle on these large built bags. However, the permanently attached handles on my PEGZ-1 gets in the way when I'm wearing it on a harness. I like removable handle straps so you have the option to take them off. On a couple of my rigs I use the canvas carry handles made for the Domke bags because you can get them in several lengths and they are thin and light enough to just lay forward or be tucked in and out of the way. On the PS617 I only had on hand an old fat padded leather carry handle from the old PortaBrace Sony 8" field monitor case and that works fine for me right now.

Have a client looking for a mixer for a multi-camera shoot that also has some familiarity with a switcher (don't know why, didn't ask). Dates are reportedly December 17th and 18th in NYC. Anyone?

exactly what I was looking for. thanks

Hey All, Although Petrol has been by choice of bags, I'm now considering Kortwich for the 664. Does anyone out there have any pics of bag setups in any of the Kortwich bags, preferably with a 664 in it? Thanks.

I stand corrected.... I have the MK012's, and bought them in 2005.

Anyone else experience setting tone to LIdent to outputs and not hearing the left signal cycle attenuation in the left headphone monitor?

Actually they have both designations, MC and MK depending on the year manufactured I believe. I only use them piggy-backed on a CS3e or my Scheops double booming on a stand. I actually like it a bit better than my 41. Absolutely can not be hand held on a fish pole.

Have a colleague looking to buy and Octava. I bought some many years ago and did all my research and found The Sound Room in Mahwah, NJ to be reputable and have the genuine Octava's. Anyone recently find suppliers selling the Russian ones and not the Chinese knock-offs?

So I get a call this morning from a new to me client who got my name from a colleague for a job for tomorrow. We spend about 20 minutes on the phone discussing and negotiating rates and equipment and come to an agreement. Client says will email me details later. Around noon I get the email, some details and an attached 6 page Independent Contractor Agreement. Yes, I've dealt with this in the past and with my current clientele it's extremely rare. I review the document, and like most, there are plenty of clauses regarding indemnification, liability and arbitration and hold harmless agreements in there that I do not like. I don't have a team of lawyers but I know enough to understand that most of these I have seen are not in the interest of both parties. Some clients in the past have accepted a returned document with the paragraphs I object to struck through. So I politely and immediately respond to the client with my objections to the document and in the email outline the agreed upon rates and equipment that we had discussed on the phone. I offer to return the document with the paragraphs I object to struck through if the email alone isn't sufficient. 1 and 1/2 hours later I receive a reply stating that they need the contract signed as is. So, I respectfully state I can not sign the document as is and will have to pass on the job tomorrow. No response. 4 hours later, this evening, client replies that I've already accepted the job and have to sign the agreement in order to be paid (obviously couldn't find someone else). To which I replied "no I don't, and you need to go find someone else". Win one for me. So my questions here for the group is are people out there still putting up with this? I stopped years ago after receiving one of these "agreements" from Discovery Production Group a week after I worked the two week travel shoot and they insisted I sign it before they can release my invoice. Have you ever read these, specifically their agreements fine print. Does "we don't have to pay you if we exceed budget and experience cash flow problems or are unsatisfied with the final work product" sound like a good idea to anyone? In 15 years I have never not collected on an invoice. I've had to chase money a few times, but always collected without going legal. Has anyone ran into the wall on the other end of these agreements and been unsuccessful? Are people really just signing their rights away without truly reading the fine print?

I just did an Alexa shoot last week and have used my TS-C to jam the camera. I don't have the lemo to lemo, but I mated two of the Sound Devices Lemo to BNC time code cables together and it worked perfectly outputting from either the 744t or from the slate. One thing to note is you must have the camera frame rate and the recorder / slate frame rate matched before you can get into the Alexa menu to set it to jam to external TC. Also, the displayed time code on the Alexa menu is always about 1 frame fast than the actual rate on the camera. Don't worry, and jam often, especially if they switch to off speed or power up and down. Cheers, Tom