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David Waelder

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About David Waelder

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    Hero Member
  • Birthday January 1

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    Los Angeles
  • Interested in Sound for Picture
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    Production Mixer

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  1. “ It didn't hold up as well in combat as the the PSC cart that imitated it,...” My understanding (I’m open to correction on this point) is that Ron paid a licensing fee for the cart design. He didn’t just copy. David
  2. Hmmm... You're in Lynchburg, I see. It's a nice place but far from the centers of production. Would a road trip be possible? The established equipment rental shops, Location Sound, Trew Audio, Professional Sound, The Audio Dept., etc., are all located in the major production centers. If you could make your way to one of those shops, they all work hard to accommodate new clients and set them up with appropriate gear and some guidance on how to use it. Probably the closest professional supplier to you would be Trew Audio in Nashville. A bit of a drive, I know, but once you've been there, met the sales and rental people and opened an account, you could conduct future business by phone and have rental gear shipped in. David
  3. Rockit Cargo is one of the leading expediter companies. They handle many films and a substantial number of traveling rock shows. https://www.rockitcargo.com/ I've not used them myself. (The company I did use was swallowed by a bigger fish.) But Rockit was recommended to me by Art Rochester. David
  4. Typically an on-camera subject will be directing his speech to someone. If there isn't actually an interviewer, there may be a producer who serves as the "audience" for the speech. Position your interviewer/producer a little distance from the speaker, perhaps eight or ten feet rather than just five feet. The subject will naturally project to be easily heard and the stronger voice will carry better over the background. If you don't have anyone in that role, draft someone and instruct your talent to address that person. Better results, minimal extra set-up and no additional cost. David
  5. Seven Series brackets are still available. I believe there are also one or two brackets to hold the CL-9 mixing interface. David
  6. You might try using one of the circular cutting punches that comes with a set of grommet tools. These are available in any good hardware store and are sufficiently inexpensive that purchasing a kit for this sole application would not be unreasonable. Before buying anything, ascertain that you could get a punch into position where you need a hole and also strike it with a hammer either directly or through some material. I haven’t tried it on a bag but I think it worth a look. David
  7. This issue of gear selection for a new player is about more than just the best tool for each function. As Phil Perkins (and others) pointed out, no one really cares or notices what components make up a sound kit so long as it seems to be organized and capable. This is true most of the time; producers mostly don’t know the advantages of one product over another and their eyes glaze over when the subject comes up. But there is an exception to that situation. If something were to go awry, it’s best to be working with gear generally recognized as an industry standard. Employers who never give a thought to what sort of microphone is being used can suddenly take a keen interest if it begins buzzing and causes even a momentary production delay. Whenever things go bad, it’s best to be working with recognized standards. That won’t make unwelcome scrutiny go away but use of less recognized gear provides an opening for criticism. This is is not an issue for an established pro; Mark Ulano could use microphones from Fisher-Price and everyone would assume he was going for an effect. But new players would be well advised to not stray far from the expected pro gear. David
  8. I think this is the sort of question best answered by someone in the office who would have access to the latest costs. There are four people (at least) in the office competent to answer a question of this kind: Scott Bernard, the Business Representative. (He generally makes himself available to members but probably has limited time to discuss issues of this sort.) Joe Aredas, Assistant Business Representative, the Field Rep. Joe's father is a representative with the International and he, himself, has been a member and officer of Local 695 for many years. Heidi Nakamura, Assistant Business Representative. She has similar responsibilities to Joe. I don't know her personally but she has been in that position for a few years. Laurence Abrams, Education and Communications Director. Laurence has occupied that position for ten years or a bit longer. Previously he was a boom operator. While the information you seek isn't directly available from the website, there is a contact link that you might use to send a message to any or all of the people above. You'll find it on the "Why Join?" page: http://www.local695.com/html/whyjoin.html Clicking on the links on that page generates an inquiry through the website but you could make your query to the attention of any or several of the people I named. And, of course, you could call the Local directly: (818) 985-9204 David
  9. Yes, there is some truth to that assertion, especially as it applies to using a laptop for your backup machine. I’ve always worked with the premise that a backup was just that and nothing more. There is no necessity to duplicate all aspects of each file to make a useful backup. At the start of the day, I would log the date and basic production information in metadata. Then I would simply allow take numbers to accumulate throughout the day. If there were a need to use a backup recording, the editor/edit assistant would need to hunt through the files to find the needed take. But that should be a manageable chore as each take would still have the classic voice slate and all digital recorders include TOD in metadata. A dedicated recorder, like an SD 7-series, rolls with only a single button press. It’s very minimal additional complication. (But I wouldn’t employ it in handheld situations.) David
  10. I favor making backup recordings wherever possible and reasonable. Like others, I began the practice when working with unreliable DAT recorders but continued even with more dependable file recording systems. The redundant recording provides me with piece of mind and also some insurance in high pressure environment of expensive productions. There are are two philosophies of backup recording: 1. Complete redundancy with each ISO track duplicated on a second recorder. 2. An independent recording of the mix track only. I favor the second method of a single track recording. That permits using a less expensive recorder as the backup machine. I use an SD744 as my second recorder and these, or similar, machines are easily acquired for about $1000 or a bit more. I reason that the mix track ought to work in the production in almost all cases. If it’s not sufficient, it does at least provide a suitable track for looping, eliminating the need to reshoot. That seems insurance enough given the remote likelihood that a backup is needed. On some occasions, the second recording can even guard against operator blunders. Goofing the “roll” and thinking that the recorder is running after a half-pressed switch is rare but it can happen. Goofing both the primary and secondary machine rolls is almost unheard of. Something of the sort did happen (just once) in my career. David
  11. Have you tried contacting Location Sound Corporation? https://www.locationsound.com/ I think most on this forum already know that Location Sound is the direct descendant of Audio Services but I bring it up for those not acquainted with the history. The name was changed after the employees took over the company from Richard Topham on his retirement. (There was also a conflict with the New York company separately owned by Ron Topham that is too complicated to summarize here.) Anyway, they performed many of the conversions are likely to have any documentation that Harvey Warnke provided. David
  12. I haven't been using Comteks in awhile so I tender advice with a caveat to check with a known source. (e.g. knowledgeable people in a pro audio shop - Trew Audio, Location Sound, The Audio Dept., Pro-Sound, etc.) 1. Comtek receivers output a mono signal. Any headphones with a stereo plug that you connect will give you audio in one side only. You simply need to replace the plug with a mono connector. (Some soldering is necessary.) An alternative workaround is to cut a notch in the plug at the point of the two hot leads with a file and melt some solder into the groove to short the left-right leads. With those little 1/8-inch plugs, that is probably more trouble than it is worth. 2. I don't know how many crystals are available in the PR-72 series (many I would guess) but you could always go on the Comtek website to research this. http://comtek.com But why would you need other crystals unless you need to change frequencies? I've never heard of a crystal wearing out although I suppose it could happen. I have some that must be substantially more than twenty years old and still functional. 3. I don't know about Audio Root headphones but many headphones work well with Comtek receivers. Location Sound sells rebranded Sennheisers for less than $20 each and can supply them with suitable plugs to use with Comteks. I don't think you can get much cheaper. Headphones for this application are considered expendables - Video Village residents sit on them, drop them and generally abuse them. You might want to have a medium good pair for the director but otherwise cheap and serviceable is better. David
  13. Well, the context here is that you are seeking support for an analog recorder that hasn’t been made in about twenty years. Finding a shop that can work on the machine, have an inventory of parts and also provide a warranty for work performed with twenty-year-old parts, is a tall order. But help is available. I’m pretty sure that Trew Audio continues to service Nagra: Trew Audio 2243 N Hollywood Way, Burbank, CA 91505 888-393-3030 323-876-7525 trewaudio.com Also: Location Sound Corp. 10639 Riverside Dr.North Hollywood, CA 91602 818-980-9891 800-228-4429 locationsound.com There is also Dan Dugan in San Francisco area but I don’t have ready contact information. And, the manufacturer continues to offer some support. The audio company, spun off from The Kudelski Company, is Audio Technology Switzerland: https://www.nagraaudio.com/ The company is run by relatives of Stefan Kudelski. David
  14. Parenthetically, this is what Wolfe Seeberg recommended when 24-bit recorders first became available alternatives to 16-bit DAT. He thought that recordists, accustomed to the -8db lineup tone settings of the Nagra, tended to set levels too hot. Recording at lower levels - he urged normal peaks at -30 rather than -20db - allowed ample headroom and softer portions could easily be raised without harm. Of course, there are career liabilities that may come of swimming against the usual practice. David
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