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  1. 2 likes
    YESSSSS! You went to the Rendevous Ballroom that’s AWESOME!!! I am super jealous. Any recordings of that garage band? I am so grateful for your posts, thanks a lot! So great to read. Btw here’s the rig, but just this past weekend I picked up a 2x15 JBL cab that I’m going to replace that 15” tone ring cab with. The reverb is a 1963 tank with a new cab, and the showman is a 1962 but it also has a new cab. The only original cab is the 15” tone ring.
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    How about a simple dynamic like an old skool SM57 or RE20 or RE16? Dynamics can take the level better. D.
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    Here is a picture of Richard (far right in shades). Check out the amps. 1964 is my guess. This is a Jr High Dance at Fern Drive Grade School for Thursday Night Dance which was once a month as I recall (I could be wrong). This wasn’t Garfish Soup, I think this is Young Generation (an earlier band). Every band in Fullerton had this gear more or less. Sometime the Bass amp wasn’t a Fender Bassman but an Ampeg B15 instead. A Farfissa organ was found in most of the bands too. The guy to the left of the drummer is playing one. Singers all had a tambourine to bash. Most bands didn’t have that many mics because getting even one good singer was hard. Probably still the case. CrewC
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    I lease my Sonosax SXR4+ mixer, mainly because I didn't want to spend my capital and keep some of it in reserve for a slow period. ($12K in my currency Vs 633 @ $6.5K). After years of always paying cash I weighed up the options and decided to play the long game this time. You really need to talk to a Tax accountant, this is their field of expertise, we are mostly sound mixers here.. But in saying that, if you're a mixer for the long term (as I am) it can make good business sense regarding cashflow. Grant.
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    In my experience, a laptop based setup is too cumbersome and too fragile for field recording. I’d definitely choose the stability and ease of setup of a dedicated field recorder like the Zoom F8N over a laptop based setup. -Mike
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    @andrewsbaik I agree with Jon, Logic is more suited for music production than it is for audio editing. I would definitely take a look at Reaper instead of Pro Tools for your DAW, I would only go with ProTools if you are sending mixes back and forth with others that are already using Pro Tools or if you plan on doing mixes for clients. Reaper is $60 and provides all of the DAW functionality that ProTools does.
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    A counter perspective I'd give is that your intermediate purchases do serve as absolutely fantastic back up gear for when you "upgrade", and in the long run it is a key aspect that all professionals should have is back up gear available that they also know inside and out. So I wouldn't regard the money spent on intermediate gear along the way as being completely wasted.
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    I have a wonderful book "A Matter of Records" on the life of Fred Gaisberg a master of location recording. But unlike the stunning equipment that we use he recorded acoustically onto waxed zinc discs. Apart from classical recordings there was a great love of novelties recorded in foreign countries. He traveled to America Russia India and Europe by train and boat with very heavy equipment including the metal discs, acid and baths to etch his results in. The whole story is quite amazing and he lived to see electric recording and modern techniques and he died in 1952 in his late seventies! mike
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    Leasing would make things easier, but many suppliers don’t offer leasing options. That said, it is never a good idea to put gear on credit. That’s an easy way to get into trouble. I’ve always bought my equipment with money that I made doing sound, so as to keep myself honest and out of debt. So I highly recommend setting your sights on what you need and saving for it, buying one thing at a one in order of necessity. Also keep in mind that making baby step purchases will ultimately cost you more and you’ll likely be unable to sell your baby-step items later on without taking a loss on them. But we all have our own road to go down so what’s right for one may not be right for another.
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    Seems like total overkill to have a Zoom H6 running alongside as a back up recorder for podcasts. (You do know the F8n records to dual SD cards at once? And can seamlessly switching from external to internal powering as well, should it die)
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    Are you planning on using a Neumann KMR 82i as an on camera mic?
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    So now I have to doubt everything I've learned about Baseball and the Civil War? 😉 -------------------------------------------------------------- Update: About six hours after I sent correx to the Times' news desk, the article quietly changed to:
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    I’ve not seen that wood bridge before! That must change the tone compared to steel? Here are the amps Blood Reef uses!
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    Usually booms don't bring their own pole. My boom ops use my poles, generally.
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    It ended up being all Lav, because I suck as a boom op. I had the boom too far away. 😁 I am doing these shorts to hone my skills in sound mixing, directing, cinematography and picture editing, in preparation for a feature I'm going to be making next year. This is the first short I directed last year.
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    Love watching the outstanding job that NFL Films sound brothers do capturing the sounds of training camp. Knock on wood...
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    I was able to compare it directly to the 688 using a passive whirlwind splitter and a hard lined Sennheiser MK50. Two observations are that the headphone amp is noticeably better and when I put the 48k 24bit files in the DAW its quite noticeable that the Scorpio is an improvement over the mic pre amps of the 688. It sounds more open and has more definition and detail to my ears. Sound Devices has stated that this is the best pre amp design to date.
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    pillepalle, thanks very much for your perspective and the doc link. That's the way I am now trending (IRT cross), but I really value other peoples input, including the counter perspective. I have been really interested to be listening to some ambisonic examples (thanks ramallo) - I haven't yet trialled Harpex but I will. My gut feeling is I definately want to get into ambisonics for the right project, but not at the low end with minimal knowledge. It's been really interesting consideration though, despite appreciating full well the convenience of a coincident rig, I have a lot of baggage from my musical background where spaced arrays sound much more natural to me. The nature of the gig (not professional or with picture), means I can afford to be a bit less risk averse. Unfortunately the possibility to hire anything above basic location mic rigs is extrememly limited here.
  19. 1 like
    Well, I wanted to chime in regarding the Deity lav mics. Besides being a Re-recording mixer, I've gotten into actual filmmaking myself now. I'm in the process of directing a feature next year. To educate myself , I've been shooting short films. For this , I wanted a budget sound mixer package. I ended up with a Zoom F4, Deity D3, and 2 Deity V-Lav mics, and a MOVO Mic 80. I tried on Oscar tech, and was quite unimpressed. The V-Lav sounds better IMO. I'll probably replace the MOVO, it's ok. Not great, but certainly usable for low/no budget work. Here's the first short we shot last weekend using setup. https://youtu.be/PlpHJJb2XJ4
  20. 1 like
    I had a copy of that book and was lightly acquainted with his editor, Tom Wheeler. (My boss was best friends with Tom; I worked upstairs from Guitar Player and Keyboard magazines). I ended up giving my copy to a total Fender fan friend; It is a great book, but I'm glad it's in a fan's hands. And your friend Richard appears in a story in an issue of Fretboard Journal about a guy who bought an amp and guitar from a guy who bought it from Leo Fender in 1942. Out of print, but you may already have it. 🙂 https://shop.fretboardjournal.com/products/fretboard-journal-electric-annual
  21. 1 like
    And to show before I go, Surf Music is alive and well and WorldWide. CrewC
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    Hey Jim, great video. Richard Smith is the man when it comes to Fender and its history. I’ve known him forever. He is a year older than me and lives 2 blocks away these days. He was the best guitar player in our era in Fullerton. His band was called Garfish Soup. He has a great coffee table book called “Fender: The Sound Heard ‘Round the World”... Check it out. He also curated the Fullerton Museum exhibit about Leo Fender. And if that isn’t enough, he has Leo’s work bench at his house/garage. Very cool dude. He found his calling. CrewC
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    I forgot to mention we did go by the backdoor of the Fender company (pre CBS) when it was on Harbor Blvd in Fullerton and got free grill cloth out of the trash. Never found any treasure but the guys were friendly and it was a trip to see the guitars and amps in various stages of completion. CrewC
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    Hey Everyone, A month or so ago, Mark Farag (another member of the forum) and I launched a podcast called Skeleton Crew. It features conversations with key crew members that would be present on most film sets. Episode 3 features Rachel Cameron, an esteemed member of this forum as well, discussing the role of sound mixer. We had a great time chatting with her and thought some of you would enjoy it as well. The whole first season (6 episodes) is available on YouTube, Apple Podcasts, Google Podcasts and most other fine podcast apps. - Joseph Boyle
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    A solution looking for a problem ?
  26. 1 like
    Fun topic Dan. Glad you’re a fan of the genre. Surf musics glory days were short lived in SoCal (Surf music is a 2 headed beast in that instrumental and vocal songs are very different). The Beatles and Stones et al killed the scene locally. Only The Beach Boys carried on but mostly as American versions of the Beatles and their favorite inspirations (Think Chuck Berry). The biggest difference pre and post Beatles is Pre it was a singers game and their name was on all the songs (like Richie Vallens and Elvis Presley and Fats Domino) they had bands but who cared who the Crickets were, everyone wanted Buddy Holly. After the Beatles everyone wanted to be in a band (a gang or family really) and LA/SoCal had them by the boatload. Buffalo Springfield, Love, Byrds, Seeds, Steppenwolf, etc and all the unknown garage bands like mine who wanted to be like the Beatles and be a unit. Thanks to the Recording Industry and pros like the Wrecking Crew, the region had an incredible modern sound. All regions of the US had a unique sound like San Francisco, Detroit, NYC, the South...., but locally Surfing and Cars and Girls were the setting for the stories/songs until Vietnam and Psychedelics became the story. Another factor is that besides Fender, Richenbacker was formed in Orange County and played a huge part in the sound of Surf, Country, and Rock music in its many forms. I’ve seen many shows in my time. I’ve been to the Rendezvous Ballroom (Dick Dale, Hoyt Axton, Tim Hardin) in Newport Beach. In Huntington Beach there was a fantastic club called The Golden Bear, (the Byrds, Paul Butterfield Band, Chambers Brothers, Dan Hicks and the Hot Licks, Hoyt, Honk, Steve Martin, Dick Dale, and many others). The Anaheim Convention Center was an early big venue in the mid 60’s. I saw the Ike and Tina Turner Review at a car show there. I saw The Airplane, Doors, Steppenwolfe, Blue Cheer, at the Convention Center. In 68 the Fabulous Forum opened in LA and I saw Deep Purple open for The Cream on their farewell tour that year, it was also the first time i took LSD). I saw CSN&Y there (twice) and Juthro Tull all before 1970. I love music and have seen many acts over the decades and plan to see many more. The thing I miss most is the smaller scale of shows then as compared to now. I saw Van Halen in 75 in Pasadena at a wet T Shirt contest at The Ice House before they broke out of the hometown hero stage and became a name. Crazy to remember there was ever such a time, Ididn’t even pay a cover charge. Now days it takes a whole lot of money to see average bands. Sorry to ramble on (going with old age). As for amps (remember I’m a drummer and a Uke player) I love the late 50’s early 60’s Fender Tremolux amp for “the sound” you and others seek. CrewC PS, sorry about the cats.
  27. 1 like
    Interesting. In that video those sound really close but in my experience that doesn't tell the whole story. Reminds me of the Strymon Flint reverb/ trem pedal, in videos it really seems to nail that tone but in real life when compared directly with the real thing it sounds small and cheap.
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    I’ve got two of the pre-made ones. Some folks got really crazy with building the kit version. They use MosFET and sound good, but once I got the tube tanks those are loaned to pals! The tube tanks just have more bass and warmth. Many surf folk use these + Quilters and a small cab...
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    I really like the Canadian Protogear bag. Got a chance to see Chris Giles’s bag and it was pretty sweet. Still haven’t ordered mine yet but it seems like one of the best I’ve seen. That being said, the original Cantar bag also works great but might require some tinkering to get that octopack on there....
  30. 1 like
    I'd say it's a work of art, John! Amazing work!
  31. 1 like
    Ok, one year later I feel like I'm done. MonoCart has evolved from a simple Magliner to something completely different. It's been a journey, that's for sure. And it has at this time cost me a fortune:) But well worth it, I have learned a lot and maybe one day, I'm brave enough to make the wheel base myself as well.
  32. 1 like
    My specialty, not piercing. One is a vintage rosewood arch top bridge on a solid body, the tele bridge is John Page WoodTone Saddles and a generic half bridge plate.
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    Simon Bishop's successfully been using KMR-81Ds on booms for some time with a DMI-2 and Zaxcom wireless
  34. 1 like
    Oh man.... I could write a very long post here, but I will try to keep it under control LOL. I started playing guitar as a 12 year old back in Sweden. My whole thing started in Rock, Blues and Metal (specifically the New Wave Of British Heavy Metal and the whole 70's and 80's scene with Eddie Van Halen, Randy Rhoads and various lineups of Thin Lizzy being big heroes. As I got older, I started digging backwards in time towards the roots of blues and rock. Jimi Hendrix and Jimmy Page was a gateway to Buddy Guy, Albert King, BB King, Bukka White, Howling Wolf, Muddy Waters, Robert Johnson etc. For myself, I have to this day never found ANY of the amp simulators to be sounding quite right. In fact, I have never played a solid state amp that I liked either. For me, when it comes to electric guitar - it's all about tubes. Tubes, tubes, tubes. Or Valves as they say in England. I was about 14 when I had saved up enough by doing paper routes, collecting recyclable bottles to get some kind of obscure amp-head (I think it was German, but cannot remember the name of it), paired with a Fender Bassman 2x12" cabinet (might have been 2x15") that had foldable kickstands on the sides. I got this setup from a neighbor at my parent's summer house. Played a cheap SG knockoff by the brand "Duke" through a fuzz-box into it LOUD to the dismay of parents and neighbors, I'm sure. Then around the age of 16, I got a band going, and it was all about Marshall amps. My first one was a combo amp, then Marshall heads with 4x12 cabinets. In the Eddie Van Halen school of thought (overdrive the pre-amp, overdrive the power amp and overdrive the speaker cone), I didn't like the sound of Distortion pedals, so I had the heads tweaked and swapped out the tubes for ones that were easier to drive. Also got hold of a 60's Marshall speaker cab with 30-watt elements. Then, later added a 4x12 cab with 25-watt elements. At that point, I was running a rack mount custom built tube pre (built by 2 crazy Swedes that played guitar with Glenn Hughes' band). Ran that through a Stereo tube Power Amp by the name of "Kitty Hawk" to the two 4x12 cabs, with a Rocktron Intellifex adding Chorus / Delay / Reverb to taste for a big sound. I used a Roland Pedal board that was able to switch between the different pre-sets via MIDI, and also could switch between channels on the pre-amp. Played the (now defunct) Stockholm Water Festival's main stage with that setup, and later shipped it too L.A. once I had decided that I had moved here. Played some shows at the Roxy and The Troubadour with that setup as well. Before deciding to ship this heavy stuff all the way from Sweden, for a while I played a 50-Watt Peavy Classic Combo tweed amp, which was not bad actually - especially for its price point. For a while, I experimented with, and got good results with connecting the tube-pre to the DAW via interface, and using Impulse Responses of various Amps and speaker cabinets. This is not to be confused with amp simulators, as the tone is actually coming from a real tube pre-amp, and the impulse responses are virtually actual speaker cabinets coloring the sound. There were hundreds of people sampling their amps and cabs and uploading/sharing the files for free for others to use. I simply loaded them into a IR Reverb plug-in, and saved them as presets; Princeton, Vox AC30, Marshall Plexi etc. Nowadays, I don't play shows anymore, but my favorite amp for recording electric Guitar is a Vox AC4TV. This little thing is amazing. It has an input, a Volume knob, a Tone knob, and a OP Level knob. OP Level switches between 1/4 W, 1 W and 4 W. - 4 watts is clean, 1 W gets a little bit of breakup when turned up, and 1/4 gets a nice Jimmy Page kind of breakup when cranked. It also has a speaker output, and when hooked up to the 4x12 Marshall cab with 30W elements it sounds amazing. Oh yeah, this little thing gets waaay louder than one would expect from a 4-watt amp. By a lot.
  35. 1 like
    The Rode NT-SF1 is the best budget ambisonics mic at the moment. Is only US$999, and you'd probably have to spend over triple that if you wanted something better. And if you're serious about ambisonics then clearly a Zoom F8n would be the best pick for you. An F8n would be a massive and I mean MASSIVE leap forward from your current H6
  36. 1 like
    These are roughly in the order of my own priority and what I feel other users have wanted the most please add and criticize at your leisure:) 1 Digital limiters on all Mix Busses AES and Dante inputs. 1a Dante Trim! 2 Wav File import for playback, remote recordings etc. uses listed below: Add non Cantar files to the Sound Report mostly just to allow us to add content from A10/PDR or other recorders and report on it. Replace track function for TC audio from A10 or PDR or other recorders that have time code synced recordings. ADD wav files of music to achieve sync music playback without having to pre record your music into the cantar. 3 Post Fade EQ EQ could be applied to the audio going to a bus not the audio on the ISO. Post Fade EQthat was only to make your mix better and not effect the ISOs would get used a lot more. 4 Colored character text/tracks to match your fader colors. Arm/Disarm during rolling(if not rolling compact Poly this should just be a quick firmware thing as it’s already recording blank audio) 5 FPS/sample rate/Bit depth displayed in the area circled in the attached image. 6 Linkable faders so that one fader can control multiple tracks not just inputs. 7 Make the slate mic input always active as a return with a setting: This would allow the use of an external comms box to serve all comms purposes and just take that feed from the SLATE MIC return. This would give us all the standard inputs for mission critical tasks. 8 Save report info per project so that when you go back to an old project it repopulates the sound report accordingly. 9 Very low on my list but auto mix/dugan of some sort. Cantar Mini Specific USB or AVB or Dante audio input/output on the mini some way to get computer audio into the mini without using analog or AES inputs. Output Delay! Users would pay a substantial amount to add Dante and output delay to the mini. Whether an add-on or a revision. If you added Dante to the mini you would out sell the Scorpio IMO FWIW.
  37. 1 like
    TBT....me and Young Zach on the set of the PBS kids series "You Can Choose" in 1990. Note Sound Workshop Logex 8 console and Tascam 38 tape deck with outboard dbx and monitor mixer. 7 smokin' tracks of musical theatre talent and one track of fuzzy TC....
  38. 1 like
    @roubi Often it's done by wiring a LED in combination with the switch; if the switch is off, a red LED turns on, powered by the bias power, if it's off, the mic turns on. The load will stay constant then, so the pop will not occur.
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    Check out Allan Williams video on YouTube about what he has in his boom kit. It’s a great video. Your kit changes based on what you are working on but there should always be some basics. Here’s some of the stuff I have in my kit: Headphones of choice (I use custom IEMS and also carry a spare set) Boompoles Goggles Facemask Hats for sun and cold weather rain gear, boots cold weather gear if applicable spare set of clothes microphone mounts that I prefer for all types of microphones headlamp i wear contacts so I have a spare set and glasses Custom boombox the kit that I wear on my person I have: small scissors flashlight gerber multi tool pen/sharpie clips misc lav expendables lav bullet small screwdriver set spare batteries i know I’m missing stuff but this should be a pretty good starting point
  41. 1 like
    Small pen flashlight, AA,AAA, transpore, moleskin, fresh sharp razor, small sharp scissors, spare TX, spare LAV, small pen form multi screwdriver, 7506’s, sunscreen, lip balm, sun hat, fingerless or two finger gloves, LAV bullet/rod, sharpie, pen, all carried in a hip pouch. extra credit- spare comtek/IFB label maker spare TX ankle wrap
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    My solution - Remove the faders. Makes it much easier to grab hold of the trims. Not ideal, but helps a lot
  44. 1 like
    Too good not to share. Not mine. K-tek customer image from their website: https://ktekpro.com/user-photos/boom-accessory-clip-kbac1/
  45. 1 like
    Thought I would share my bag. Came across this tactical bag that is more compact & lighter then my ktek and fits my nomad perfectly. Very happy with this setup it's like having a porta brace/ktek hybrid Thought I would share my bag. Came across this tactical bag that is more compact & lighter then my ktek and fits my nomad perfectly. Very happy with this setup it's like having a porta brace/ktek hybrid
  46. 1 like
    I used a Sonosax ST for 9 years and it is a truly great analogue mixer. Using the 2-way system that was on the Sonosax, I set it up with Sennheiser G3 returns from my crew but it only lasted a few days before the crew got fed up of the extra complication of mics with PTT boxes and belt packs. For the years that I used the Sonosax, I used the comms section in the traditional simplex way. I could have bought the Sonosax cabled comms boxes but I cannot see my crew working with hard wired comms. For 20 months I have been post Sonosax ST, using the Cantar X3 initially with the Cantarem mixer panel from my X2 rig, then the Cantarem 2 and I am looking forward to mixing on the Cantaress next year. The X3 may not have the dedicated comms system that the Sonosax had - and I suspect used by relatively few in duplex mode. But it does have many inputs, outputs and routing options that should enable you to set up a system quite similar to the Sonosax dedicated system. You have press to talk (Talk 1 / Talk 2) on the X3. You have 12 analogue inputs on the X3. If you are using all the analogue inputs, use the AES3 inputs and an AJA ADA-4 AD / DA converter for the comms return from your crew. This return could be unrecorded but routed to the sound mixer's headphone mix. PTT from the crew would go through to the headphone mix. Talk 1 or Talk 2 direct to the sound crew. There are so many routing options available that I am sure that you can find a solution within the X3 with no extra external equipment. For me, since a production edict a few years ago on a studio film that the boom would not be used for any comms, we have used Walkie Talkies like everyone else on the set. I have become used to a covert earpiece that remains in my ear all day and I wear my cans over it when monitoring and for my way or working, it works well. This also has the advantage that I can walk away from the mixer and I still have comms. Likewise, my crew are not cabled into a comms system. Comms are comms on the walkies and programme is via IEM in the usual way. It is wireless so they always have comms on the set, if they are outside in the sound van or collecting the coffee order. Our way is just one way of working. It won’t suit every crew but for us it works well. Tim White
  47. 1 like
    s/h Sound Devices 302 new Tascam DR-40 s/h Sennheiser 416 or new Rode NTG-3 new or s/h K-Tek boom pole (your budget, your choice) new Sennheiser G3 wireless sets (two) new Oscar Sound Tech OST-801 lag mics (two) new or s/h breakaway cable (like a Remote Audio CABETACFP33) a bag to hold everything (like a Petrol PS607)
  48. 1 like
    Start with a mixer, a good shotgun mic (416 is a popular choice and you will probably die before it will) and pole, and the best 2 channels of wireless you can afford. Sennheiser G3 are great value for money, used Lectro appear all the time. I suggest that you rent a recorder when you need it to begin with. I would have loved to start with the fantastic options we have to put in our bags today. A 552 is a mixer that records, and you can pick them up used for great prices. It can't generate TC but will stamp wave files if you feed it TC. Budget tight? Find a used 302 or 442 and grab a Tascam DR-40 (no timecode there though) Zaxcom Maxx (does TC) looks enticing but doesn't exist in the wild yet, and will have bugs (in line with every new product release) when we do see it. There's a ton of other options to explore but that's where I'd be looking if I was green again.
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    In my opinion, you are kinda looking at two different things. Generally speaking, production mixers are designed with clean headroom in mind. The Neve is going to be all about color and harmonic saturation. These are qualities that aren't exactly revered in location boards. The Cooper is transformer balanced, which means you'll inherently get a little harmonic coloration (read: distortion) out of it, but I wouldn't drive the circuit like I would a Neve. I don't know that there is one magic bullet here. Both great pieces of gear, but both engineered with vastly different uses in mind. Further to the point: are you really going to take a portable Neve board (or even a Cooper, for that matter) to clubs just for sample sub-mixes!? Get a Mackie that A: Won't get stolen, and B: You won't cry if you spill a beer on. My $.02
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    I have a Lowel light stand similar to a Arri KS stand works fine for most things light weight and cheap. I have had it for 5 years. I do have a full black C-Stand but only bring that with me if we are doing something that is a very wide interview shot and we don't have a grip department. I would say I only use it once or twice a year link for KS stand is below http://www.bhphotovideo.com/c/product/31879-REG/Lowel_DT_33_DT_33_KS_Jr_Light.html
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