bleueblancrouge

cheers randy. much appreciated.

i'm hoping someone will help me out to understand the difference (if there is a difference) when using an older SD mixpre which has outputs that are impedance balanced, vs. an newer mixpre that has active balanced outputs when using it as a front end to feed signal into ch 3/4 of a 744T. i've got a few other questions: are there differences in quality, level, rf/interference rejection or other? is active-balanced and balanced the same thing? when going through an xlr how does impedance balanced avoid interference by having only one voltage line when compared to balanced that has 2 lines? i've read the paper on the differences (http://www.sounddevices.com/tech/balancing.htm). so for impedance balanced outputs, if "This topology has equal impedances from pin 2 to ground and from pin 3 to ground; however, only pin 2 is driven with signal voltage", can someone explain how driving only pin 2 is different from an unbalanced line where pin 2 is also driven with voltage. they say "It provides common-mode rejection of unwanted noise into a balanced output just like an "active" balanced or a transformer balanced output stage." i guess maybe i don't understand what "common-mode rejection" means. sorry if this seems rudimentary to some, i just would like to understand it better. cheers, P.

oh yeah, i'll be up for it. if you'd like to,PM me and let me know what you've got mr. senator. and you can expound on "it depends"

certainly it's hyperactive in it's editing and sound. so much distortion and low bit rate processing that makes all the sound grainy and ruff. by intention. i guess it could convey power but it gets a little tiring after a while. nice stunt driving. even that is flashed up with tire burning whenever he gets the chance. P.

it all depends on the project. i work in film and tv fiction. in general i think i'll be using the Premiere Edition from Hollywood Edge more (a small percentage more) than others. Digieffects might be a close second. i find Premiere to have a mix of three elements needed to be considered a little better than the others; diverse sounds, interesting sounds, and better sounding; compared to the other large libraries (Sound Ideas, BBC, DeWolfe, Digieffects, Soundstorm) that might have a lot more of one of those criteria but not a more equal amount of each. they all have strengths and weaknesses. i do go to Sounddogs for stuff i can't find. being a freelancer i worked two months ago at a post house that had the soundstorm library and there are some extremely interesting and amazingly recorded effects in there. i usually end up choosing a little bit of every library if it fits the project, but using my own recorded material will always win out over any library sound effect. last week i was at another post house that had an in house library that they recorded over the past 50 years. needless to say i had a wealth of material that fit the project i was on perfectly. it really doesn't matter what kind of library i use, it's more about how much material do i have to work with. diversity becomes the spice of the soundscape. and as dfisk said, because of it as a personal choice i now avoid certain sounds that are overused, or i skip the first 30 seconds and use another part of the recording. can we be more creative with our choices please? we should be. of course, we might be the only ones that really notice things like these. but for myself, i can't be stagnant in formulaic processes. i don't have it in me. P. mpse

south korea isn't china (and by extension hong kong), so that's why i was asking. i'll check the link marc. thanks.

i like to use a more direct line "you buy shit, you get shit."

fyi, the film giancarlo is talking about was released already in 2010. i saw it last year in theaters. it's a great doc with wonderful behind the scenes footage. a well crafted (editing and sound design is top notch) film that has a dramatic story arc that really lets you connect with senna the man. it doesn't harp on any conspiracies about his death but celebrates his love and dedication with racing. http://www.hotdocs.ca/film/title/senna/ "Senna", rent it, turn up the volume and enjoy.

would you believe that at the canadian amazon site an 8 pack AA is 38$. it shows the big difference that canadians pay for items that are half or one third the price in the states. and no one can say why the discrepancy happens if our exchange rates are almost equal. another example, i priced a 9v wall wort in the u.s. at 9$, that same one starts at 26$ and up, here in the great white north. at least we can buy electronics from the states with no extra duty fees thanks to the nafta agreement. we just pay taxes. but any warranties are void unfortunately.

somehow i new you'd turn up senator.

costco not selling them in montreal.

has anyone bought the Eneloop batteries on ebay from South Korea? and were they legit? i know that a couple years ago they were being sold from China and they were knockoffs. (somehow i think i'll be getting scolded for asking this) cheers, P.

like dfisk mentionned, and i'll stress again; if you can, send an email to the supervising sound editor that there are extras coming along with your recorded sound. and we'll use them. up here in montreal, i always ask for the sound reports and i always get them. then i'll check for the extra recorded material. P. mpse

when recording room tones, wild sounds and other clips, slugging them at the beginning is always a huge help (location, scene number, character's name, activity, type of recording, etc...) ie: "Bruce's kitchen room tone, MS, scene 29-2" it helps just in case the sound reports get misplaced, or when we compile them and need to log them later on, we get a quick description right away when we play the track. cheers, P. mpse

dialogue editors will always love to have (ie: need to have) these extras. room tones and amb (exterior) tones are always welcome. they are essential for cutting a smooth and seamless dialogue track for the mix, or dub as some of you call it. low budget or not, it doesn't make a difference. as for the effects crew, old school is right. it depends. eric is right when it comes to original sounds. if the production doesn't have the budget to pay the post sound crew to record these original sounds on their own, some time after the shooting is complete, whatever is collected on set will be very appreciated by the lower budget productions. i always use what's recorded when able. especially if it's something the actor is manipulating or driving if it's something uncommon and special. again, generic city sounds are always found in our sound libraries. but interesting sounds are another story. there's never enough night time city atmospheres for us. nature sounds are good. if it's shot in a foreign country and the script is set there, any ambiances are welcomed. especially tracks with people talking. it's next to impossible to get the change to go and record out there for us in post. phil has a nice idea. maybe you don't have to go all the way and pull sounds to put them on a single reel, but a log files with what and where all these tracks can be found is always welcomed. file #, day, folder, scene/shot/take, location, description. whatever's essential. stereo tracks are gold. usually we get monos and that's what we expect unless the production mixer has a reputation for stereo recordings. try to get a note for us as a heads up that you've done these recordings. maybe on the first page of the sound reports so it's obvious. or get the supervising sound editors email and drop him a line. don't rely on producers or anyone else to do it for you. if we know they're there, we'll go looking and listening for them. i find it's a rarity, mostly due to time constraints on set, to get extra tracks other that standard room tones. when we do. we like it. at least i do and i'm sure other supervising sound editors who love what they do will appreciate it as well. cheers, P.

i'm feeling lazy.

hi guys, besides the obvious extras in the "d" version, i just want to know if the transformers and limiter are the same between the two versions. (i know that the 552 has been discussed here and it has different components from the 442). i've googled and searched for some info but haven't found any answers. cheers, P.

i vote to keep the site. if there's any doubt about a seller, it's easy enough to just ask the jwsound group if they know and can vouch for them. it's only one part of the vetting someone should do when purchasing. i've only had good results because i've always done my homework. knock on wood. P.

the KID.

the montreal canadians had a tribute to carter tonight before their game with the devils. the arena announcer read a nice tribute about his life and career, they showed a short video of photographs set to music, and they had a moment of silence as well. he was a favorite of the montreal fans and the face of the montreal expos when me played here. there will be a permanent tribute to him here in the city. don't know where yet, but the city will be deciding in the coming months. sad to hear he lost his battle. peace, P.

nature 1, capitalism 0. and i second the no christmas music prior to december policy.

cheers everyone. i've got my gear s/n's all filed away. sent an email to the sales dept yesterday. P.

does anyone know if is the beta test over and is the bbi-cub-01 available? the bubblebee web site does not have it listed yet. P.

cheers senator. i don't know why but i feel privileged you answered my post. since joining i've felt you've been somewhat of an enigma. somehow you're constantly answering posts across all topic groups. you're quite omnipotent. i'll contact sound devices. hopefully i can get it transferred with the documentation i have. since it's been over 2 years since i bought it, and through a intermediary seller, i don't think i can get the original owner (who's a big company) to do the switch. P.

hi guys, what's the advantage of transferring a serial number to someone who's buying used equipment? i've noticed people doing this with sound devices gear. is it purely for proof of ownership if someone questions the gear you have? i bought a used 744 just over 2 years ago but never had this done. cheers, P.