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joe17

sound devices 633 inputs 4-6

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this is going so fast to nowhere... 

5 hours ago, Dutch said:

I've been reading this forum since 2011 and joined within the last few years. I have a dozen IMDB credits since the last film on your list and over 3000 hours of feature film and reality TV work in that time period.

 

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Angst?    When you were learning to capitalize names as a sign of respect you should of checked out vocabulary Dutch... Words matter.

 

I love gear like many, but it has little to do with the work, it is just stuff in the tool chest.  Experience and knowledge is 99% of all jobs. If you believe otherwise, it's your prerogative...

 

I love your your passive aggressive finale Dutch. 3000 hours and 12 IMDB credits. Since? Not sure since when, my last film? or 2011? Wow. Nice humble brag. What's my IMDB page like? I've never listed any of my jobs there. Most likely because I haven't worked on a full feature since 1987. I hear there is little vetting over there but I could be wrong. I am often. I was sure Trump was not going to win. I do know one thing though, I have over 60,000 IATSE union hours in my review mirror. That's the credits I respect.

 

CrewC

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Matt   
When an actor suddenly changes a performance. Shouts instead of whispers. Everyone LOVES it!! Your 6-series line input clipped. There's the problem.
We can all agree that proper gain staging will prevent the use of limiters for regular use. But we're not getting paid as professionals to record ordinary things. Almost anyone can do that (although I've hear a lot of distorted news reports lately). We are paid to capture performances that are out of the ordinary. We can't simply say, "Ooops. That actor is going into one of my line inputs without a limiter, and I didn't get that take." Although when an actor changes the performance and overshoots a mark, and it's out of focus, they seem to be ok with that.


Exactly! Some of you guys on here seem to assume that every production works exactly the same. That you get nice rehearsals to set gain staging and never have dramatic, unpredictable volume changed. Well, to say that you don't need limiters if you have proper gain staging is like saying you should get 100 yards of reception on your Lectro 411. Well, yeah. If you are in an open field, line of sight, with the transmitter on the end of a boompole. So, please don't act like because not everyone is on the same type of production as you that somehow they are "less than" professionals. On reality and unscripted shows, which are a major portion of the entertainment world today, like it or not, limiters are essential. I defy the most grizzled veteran recordist to never distort audio on an unscripted show without the use of limiters. I see them as a helpful tool as well on numerous projects where the full rehearsal has gone the way of the dinosaur. I don't like this change, but so it goes. So, should you slam the limiters all the time? No. Is there something wrong with using them for safety? No. Is it highly disappointing that Sound Devices made a decision, 3 times, to give extra channels that are virtually useless due to the absence if input limiters? Yes. This is the primary reason I'm still using my 788 and will until it croaks. All 8 inputs have limiters, are mic/line switchable, and can provide phantom. Maybe the decision by SD was based on price point. So why not make the 688 the big daddy? I'd pay more for it and would have upgraded by now. Instead it is a "12 channel recorder". Except for the fact that the last 6 channels have no limiters. Hell, I don't need 12 channels. I'd have been happy with a 788 with a new color screen.

Anyway, I don't really have an opinion about it. At least they didn't make an 8 track machine with only 4 faders. THAT would be crazy.


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rodpaul   

I discovered the lack of limiters on 4 - 6 the hard way also, although it is explained clearly in the manual. Less intuitive is the location of the trim control for those inputs, however I have adjusted to using 1 - 3 for situations where the limiters may be needed - and they work well, and I'm very careful in the rare cases where 4 -6 are needed. I run the gain up on the Lectro transmitters as Larry F has suggested and find the limiters sound OK. I keep the mixer levels low enough on 4 - 6  to ensure there is no yellow ever with peak display, and it sounds fine. There are tradeoffs with all gear, and the 633 is a terrific mixer in a small package. Reading the manual carefully helps get the most out of the machine. If you regularly need more than 3 inputs then there are probably better options.

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On 4/19/2017 at 9:46 AM, Matt said:

 


Exactly! Some of you guys on here seem to assume that every production works exactly the same. That you get nice rehearsals to set gain staging and never have dramatic, unpredictable volume changed. Well, to say that you don't need limiters if you have proper gain staging is like saying you should get 100 yards of reception on your Lectro 411. Well, yeah. If you are in an open field, line of sight, with the transmitter on the end of a boompole. So, please don't act like because not everyone is on the same type of production as you that somehow they are "less than" professionals. On reality and unscripted shows, which are a major portion of the entertainment world today, like it or not, limiters are essential. I defy the most grizzled veteran recordist to never distort audio on an unscripted show without the use of limiters. I see them as a helpful tool as well on numerous projects where the full rehearsal has gone the way of the dinosaur. I don't like this change, but so it goes. So, should you slam the limiters all the time? No. Is there something wrong with using them for safety? No. Is it highly disappointing that Sound Devices made a decision, 3 times, to give extra channels that are virtually useless due to the absence if input limiters? Yes. This is the primary reason I'm still using my 788 and will until it croaks. All 8 inputs have limiters, are mic/line switchable, and can provide phantom. Maybe the decision by SD was based on price point. So why not make the 688 the big daddy? I'd pay more for it and would have upgraded by now. Instead it is a "12 channel recorder". Except for the fact that the last 6 channels have no limiters. Hell, I don't need 12 channels. I'd have been happy with a 788 with a new color screen.

Anyway, I don't really have an opinion about it. At least they didn't make an 8 track machine with only 4 faders. THAT would be crazy.


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The SD boxes, from 6xx on, are very cool (have had 2), but as an oldster I do wish that the 7xx series had continued.  And the recording situation described above is where that design really shines.  It could well be that an updated 788 would have to sell for too high a price to be competitive in the world of the F8 etc.  But I wish they'd try....

 

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