hemmerlinj

Paul, Thank You very much for that. That was more than I was ever expecting when I originally started this post. Very much appreciate the time you took to write it out. Very good points and it's given me a lot of things to think about when I make the purchase. Once again, Thank You. J. Hemmerlin

Have you changed the freqs that you are using on these units. I've encountered this before and more often then not the problem is solved by changing the freqs. J. Hemmerlin

You can easily attach the sinker to a TA5F connector just by using a piece of wire for the loop to hold the sinker and soldering each end to the to the pins. Now that I think of it I might try to make one. Just have to run to the tackle shop for the sinker. On a similar note. I had a friend that made a quick release for his keys out of male and female XLR connectors. Sometimes you have to get away from the monotony of making cables all day long with a little creativity.

I've used the SR's (not a's) with the HDX cameras and I've never had an issue with getting the tone up to -20 reference level. Was your output on the SRa turned fully up for line level or just to 0db?

Sounds like you should have drawn the line a long time ago. The most I'll do is help with lighting and carrying extra tapes. I've never and will never do the job of a data wrangler. Most of the time when I do double system I hand off a CF card to someone else to dump. I would hold your ground. It's not your job. J. Hemmerlin

Droppin a 20 spot. Thanks for putting together such handy tool for all of us in the industry. J. Hemmerlin

This is what I love about this forum. I've been throwing around idea of getting an oktava or 2, but new that there were issues with them and that one could be great and the next could be a great paper weight. And then several of you mention that sound-room.com and that they go through their stock and check through each mic to make sure they meet a certain standard, and are generally of a reliable build. With the guessing taken out of the equation I decided to go for a matched pair with all of the caps. I'll get them in a few days and give them a try. I guess I'll see how they compare to my Schoeps CMC641, and my Neumann KM185. I'm guessing pretty close to the Neumann. Thanks Guys and Gals, J. Hemmerlin

Definitely charge portal to portal. Part of your job is supplying the gear, thus you have to transport the gear, thus you are working at the point you pick up the first case to load into your car. And the OT after 8 hours is the way to go as well. You have to cover your ass if the day is not as long as when you give a day rate. With the day rate you make the same amount if you have a day that ends at 8 hrs as you would at 10. So with the hourly you want to charge more and make sure that if your day is over in 7 hrs you still make a good rate. As the Senator has stated," Your whole day is tied up no matter what".

Make sure you simply try a different set of cans first, before you do anything. It still could be the mixer itself and not something weird with your headphones.

So I did a job this weekend with the 788t/cl8. Had 2 things occur that are making me lean more towards the Fusion right now. 1- The Cl8 kept on losing it's connection to the 788t. Easy fix I guess with some gaff over the connector to keep it place. But it's the lasting thing I want to be dealing with in the middle of a shoot. 2- Now, this was a problem. One of the channel had this horrible squeal that start just shortly after rolling. I had to cut and quickly switch things around to a different track and input. Luckily it was the iso of the host for the shoot, and the other mixer had her on an iso as well. Crisis overted, but I would have been screwed if I was on my own and had to use every input on the 788t. J. Hemmerlin

Make sure the connector of your headphones doesn't have a bad solder point or something. I own a 442, and the connector on my cans had a loose wire. Everything mono'd out and when I tried switching to any other source other than the stereo setting on the monitor switch there was nothing. I thought something was wrong with my 442, and of course was freaking out (on the inside). I plugged in a different set of cans and everything was fine. Had the other headphones fixed, and 442 works fine. J. Hemmerlin

Aluminum Boat ! There's your answer. That thing was probably reflecting the rf signal all over the place and causing you problems.

I would wait until 10-2. That way you have a little more time to create a diversion so the rest of the camera dept. doesn't know what you're doing.

You would use tracks nine and ten for the mix down. You can also use a digital input to access these tracks as well I believe. This is something that you can't do with the 788t. I think. You're limited to just the analog inputs. The unit has 12 tracks to record to, but only 8 inputs. It would be nice to be able to have a way to utilize other I/O options to record direct to the 4 additional tracks.

Everything works well to a degree in NYC. But nothing is ever going to be completely clear. I use 26 and 27 right now. Some days the higher end of 26 is free and other days the lower end of 26 is free. It all varies depending upon the time of day and where you are in NYC. I just did a large job the other day in Brooklyn ( where I almost never have an issue with any blocks) and we had a lot of blk 21's, some 20's, 2-22's, 24, 4-26's, and a 27. Block 21 gave me the biggest problem. I had only about 3 available freqs I could use when trying to coordinate with the other blocks I had. Took sometime to arrange all of the freqs to work with eachother, but If I had just 24's and 26's I could have done the whole thing with no problems. I've found it's best to have some units that other mixers you may work with have, but also try to have some that others aren't using as much. That way you'll have some useable freqs in situations where there are a lot of other wireless going as well. But, there's never a guarantee. So for NYC, BLK 26, Blk 24, and Blk 20. 21 used to be good, but something has changed and it's not as easy to get a freq as it use to be. It's useable, but I wouldn't use more than 2 setups on that block. Good luck. J. Hemmerlin

The box is smaller and has a port for a battery meter. That's about the only difference. You won't miss much if you got an older one. If you buy a used one just make sure that all the posts work. Didn't check all of mine before I bought the one I have used. One port is intermitten. Never needed it though. It's a great system. Definitely worth the purchase. I had 2 hawkswoods before the BDS. The hawkswoods could never be positioned in any sort of way to make the switches easily accessible while still keeping the cabling nice and neat. J. Hemmerlin

Do you think it could a some sort of strange interference from the many different RF signals that are coming and going from the boats? I've often had a real hard time with RF whenever I was shooting on a boat, or even on land where we were shooting close to water that was near any major shipping lanes. Just a thought. J. Hemmerlin

You can't do that. The DP is using that monitor to light the set. He couldn't possibly use a light meter. He never learned how to use one.

I think normal is where it is set on the lectros right out of the factory.

The price is pretty much the key reason I'm looking at these 2 units. They seem to be the best bang for the buck. When it comes to price though I am leaning more towards the 788t. As I do plan to buy the the bigger fader controllers for the unit I do buy. The CL9 is much cheaper in price than the mix12 controller. But the Fusion still has better options for EQ and dynamics if needed. 788t only the one band of EQ and the rolloff. And that's only with the CL9 controller. Just the same though I rarely ever use any EQ or anything in the first place, as I feel that's something that should be left for post to deal with and should only be used if it's absolutely necessary. It still would be nice to have the option though.

I haven't bought one yet, but the few that I have tried out at some the sound places around me have a strange feel to the fader knobs. They seem to have an elastic feel to them, and they're not very smooth. Maybe this was just on a few of them or something. I know the first one I looked at didn't feel like that. I would make sure that you're testing out the one you're going to buy. I wouldn't just order one online.

I think it's all a conspiracy to eliminate cash from the world. This way the government can keep track of our money and know if we're hiding anything. We should be fighting this. Fight the system!

You could use the dipole antennas. Their passive and might work in that type of situation. If you're using 411's or the older 211's you could give that a try. You would only be able to use 1 antenna for each receiver, but it might make a big difference.

Guess I meant internally cabled with a coiled cable, but straight as well. I haven't tried the straight internal cable, only coiled. Both of the poles I use for ENG have coiled cables inside. The other long pole I have has no cable. Which is what I prefer for films or commercials.

I've tried that before and it never worked. Did a travel show with the cams mounted on the car. I decided the best way would be to put the receivers in the car and run them direct into camera. We often had to cameras rolling so we would use a clapper. I would simply monitor what I could get in the follow car and send a comtek feed to the producers. As far as being confident about the audio being it was a bit of questionable situation, but the rx's were real close to the tx's and I never had any complaints from post about it. So it worked out. We did this in just about every major city in the US. I think when you try a rig like that and you're in the follow car the fact that both of the rx and tx and moving and the signal has to travel thru the body of a car it becomes a real problem for the signal to make it through. So, I don't think it was that there was a "Ballgame" going on or something. Of course that setup only works if you have enough rx's with matching blocks. If the vehicle is big enough you can also be in the car, which I did as well. Hiding in the back down low. Not advisable if you get motion sickness though.