Philip Perkins

And extra strain reliefed!!!

B3s if you want pretty good sound and think you might be able to use them on multiple projects. Otherwise whatever works that's cheap. I explain to producers than in doc work of any kind lav mics are an expendable, like batteries, tape, media etc: they are going to get broken and there is almost never any good way of fixing them in a manner that they are reliable again. The talent won't be even as careful of them as dramatic film actors (which is not very careful), so it is just a matter of time before they get damaged.

I've used my Neumann, A-T and Shure LDCs outdoors many times. You need wind protection for sure, but more for audio (low freq wind bumps) than protection. You don't want them rained on or in a dust storm but you wouldn't want that for any good mic.

$45 freight + $5 customs is indeed a "bone", esp if the unit is under warranty.

If you want TC gear that can be serviced by its manufacturer then go Denecke.

I like the cel phone screen cover as a stopgap. But eventually you'll be working out in the rain....or dust... In the MI electronics world, replacement while under warranty and no help at all after has become the norm, with no fixing type service ever. The Deity stuff seems to come from that part of the manufacturing world.

I gotta say that for a moke like me, who gets steaming piles of very problematic semi-pro-or-newbie-recorded hard-doc verite production sound to work over and make broad-or stream-castable (re: tech eval), Clear is the bomb. Yeah, I know that AI will take over all this sort of work very soon, but until it does.....

Clear is a great plugin, very worth the $ . You get a lot of good re-reverb and denoise really fast with it.

It's worth a shot trying to get them to work yourself if the machines were not abused or run into the ground back in the day. Then you'd at least have the basis of a conversation with a DAT tech if you find one.

The electronics are almost never the issue with DATs. It's their poorly designed and manufactured transports that cause nearly all issues. The transport consists of a great many small parts, motors and sensors and relies very much on the tape being at the correct (high) tension for the thing to work at all. This is one reason that DATs didn't wear very well.

Ironically, it is much harder (if not impossible) to get DATs repaired (especially portable units) than it is to get even a very old Nagra (like III) worked on these days. Nagras give some kind of pleasure to techs working on them, like old cars etc. DATs are just a terrible pain in the ass. If your DATs really were working ok when you stopped using them and were stored under reasonable circumstances then it would be worth trying to gently get the transports running again by cleaning the heads and the guides and then putting some sacrificable tapes in them and trying to get them to lace up and run at play speed. Do the machines run well enough to give you a BLER count? The issues with DATs are almost always the transport and heads (as in clogged) vs the electronics...

Like I said: "Behringered".

The mic in question, 4099 in mounts for double bass and cello and occasionally piano, has worked very well when it works. It's a bit fragile but players like it. (They are also popular for car-dialog rigs too.) But a co. that doesn't service expensive pro gear doesn't get any more biz from me.

I've had no or very slow and non-specific response from DPA re: service for a mic that is out of warranty. I also tried a few audio techs for repair and they had no better luck with DPA than I did. Am done with DPA.

Goyo will go EOL on Dec. 1. It was working well here but I'm working on a doc feature the mix for which will go well beyond Dec 1, so I got "Clear", the paid-for version. It currently doesn't work properly within Reaper without some workarounds, but seemed ok in other DAWs incl. PT. It's pretty helpful, more for DX reverb than BG noise, but its very fast to use. You can push it too hard and make it sound bad, and it follows "Berger's Law" just as much as any other NR plugin or device (works best when you need it the least).

Please leave our little morsel alone....

Around here no one wants my cables and the latency is liveable.

Once the local videoists went to QTake all video became wireless. Teradek on cams, wireless to monitors. We don't hook them up for sound anymore, they take the wireless hop audio from the camera Teradeks.

A mixer that is also the recorder needs TC to function in our world. See Sound Devices, Zaxcom, Aaton, Yamaha DM7, etc etc.

Nicely done! Very clean and functional.

My FOH friends agree, in that they all hate the TF mixers, and find the DM3 stage interesting. I looked long and hard at it and decided it was not enough of what I need (inputs, faders, recording, timecode) and a lot of what I don't need (most of the FX etc). That it has Dante from the get go is very cool. But it is not any sort of DM7, which is reflected in the price. Maybe a future firmware upgrade will allow the DM3 to accept more inputs to mix (via Dante), that would be great.

The 664+552 is a nice combo if you set it up right (prefade iso outs, link i/o mix buses). But no linear faders like CL12. CL6 worked well but you had to keep in mind the way that the operation of the 2nd group of 6 channels differed from the operation of the 664's chan 1-6. OK but annoying. In my later life I really missed having mic pres on Ch 7-12, hence the 552 (+a 12th outboard pre when needed) vs the CL6 which is line level input only.

CL16?

What devices are you speaking of re: +/-26ppm? Consoles? Preamps? Stage boxes?

For me--just the first level: I got lost pretty quickly in the 2nd tier. But the first level seems to contain most of what a humble location soundie needs to know. Now that I know I can make a basic system work in the shop, my fear of course is what would I do if I could not get something to connect out on a real job. The other bugaboo, which has been discussed here by people with real Dante experience, is dealing with issues caused by other people's networks (as in trying to patch into a live-sound rig).