Rick Reineke

I also liked them for intimidating the many interns who knew just enough to be dangerous. Evan with all the 'analog tape' '' plug-ins, it's still not uncommon to record drums and such to tape then transfer to a DAW.

Obviously one would want the other necessary tools, wire stripper, razor blades, small side-cut nippers, needle-nose and assorted small pliers, magnifying lamp and Jack Daniel's for working on Hirose and Lemos.

I stand corrected. Thanks Tom As long as I have your attention, does the DR-40's line input go through the mic preamp (via attenuation) like most other budget recorders?

I highly doubt it has or attenuates a secondary input stage. As with most budget recorders, the record volume only affects the 'digitized' level.

A spelling error for sure. Sorry for any confusion. Sanyo Eneloop. There's other rechargeable AA options as well.

At one point I was considering the $70 Sennheiser power converter until I realized that rechargeables would power it (G2/3) for 12+ hours. Don't know the run time of Sony.. probability similar to the G2/3. $70 would buy about 20 or so Endloops.

What a beautiful machine, pverrando

A camera terrorist.

Putting an AC plug directly on a DC power cable makes me shutter. It's common to use a (wall wart type) power supply to power a DC device. Are you sure the person you talked to actually works at LS?

The G2/3 EK100 portable receiver @ line level (AF out +12) is a little anemic for some +4dB inputs. -18 or -12 yeilds adequate gain for typical mic level inputs. BTW, the EK100 output is unbalanced, so the output cable's XLR pins 1 and 3 must be tied together for either mic or line levels, same if using a 1/4" TRS plug.. ring and sleeve tied together. Also, as I recall, when summing the 302's tape out L/R for mono, SD recommends putting 10k ohm resistors in-line. PS- You can paint them if the colors bother you.

I never used the Unveil, but the iZotope de-reverb works OK. Not without artifacts if used to extreme though and the RX3-Advanced may be expensive for the occasional user

"and if you go through the zoom inputs, you cannot avoid the zoom preamplifiers" - Absolutely, most budget recorders just attenuate the line siganl back down to mic level and it goes through the mic preamp anyway. I don't know if the H5/6 accepts +4dB balanced line either.. the H4n didn't. Either way the SD front-end would be preferred. prior to the Zoom, especially where a lot of gain is needed .

"7-10 Days of Work. FCP7 workflow." This poster really knows his stuff...

The LAME encoder works good after the fact. Batch converts fast and easy with more settings options than most encoders.. if fact additional parameters are available via the preset file using LAME version RC3. Some minor code experience is helpful in that case though.

" they'll be responding to aircraft, leaf-blowers, scaffolders, pile-drivers, kids' parties, fork-lift trucks, fracking drilling rigs, bird-scarers, car alarms and shouts of 'Oi, get off my land!" - I often respond to those instances with.. expletives.

I bought a 20 pack of the Quantum last year to use for a shoot with my 302. They seemed impressive, but no detailed run-time account. Certainly lasted longer than standard alkaline batt.s. As I recall they were (and still are I beleive), $13.99/20 pack at the NY/NJ Shoprite grocery stores. Don't have any idea what that works out to in terms of mA/h per $.

"it is about the arrows" - Certainly is.. but would question the competency of someone using a POS recorder.

Mediainfo (free) will state the all you need to know.. and don't need to know. http://mediaarea.net/en/MediaInfo

It appears to be a poly file from the PTs spec graphic: "5.1 LCR LFE Ls Rs" Does FCP support that type file? The file size could be an issue as well. I concur with Matt, check out Wave Agent.

"Producer is not liable for loss or damage of such tools, equipment, or supplies as you provide." I've seen that more than a few times, it's a standard template from who knows where or for what. I always cross it and change it so production is liable. So far no objections. Reality shows are tough on gear and I won't even use my own mics/transmitters on some were destruction is likely. I actually lost two transmitters w/mics a while back when the (drunk) female participants decided to disrobe in the ocean. The producers left town and disappeared. I didn't have insurance. Lession learned.

Another 'guitar hero' gone. RIP Johnny.

The 'dead chicken in bag' method would be my initial repair procedure. ..and those of us who own 744s hope the price goes back up

I was in a band playing the same NYC circuit as the Ramones.. CB's, Max's, Mud Club, Tramps, ect. and encountered them often. ....Fun times. My memory is vivid of Joey, going up/down stairs, curbs ect.. but a bit hazy otherwise.. the mind-altering substances we partook in.I guess. RIP all.

Impressive

Doing a good mix on a small control surface (like the 633) is difficult and most of us use a console type mixer... and damn near impossible if your a OMB (mixer/boom op.. typical of low budget films). In that case I would do a split track mix boom/lavs. (If a production can't live with that, they need to re-think their budget)