Eric Berzins

You're making me homesick. I grew up 15mi away in Bethany Beach, DE. Haven't been home in years. Unfortunately, I'm no longer in the area. Good luck in your search.

If you want multi-channel computer recording, you'll need a multi-channel interface. MOTU's traveler is a good solution, albeit one that uses Firewire and not USB like you appear to be used to. 4 onboard pres in addition to 4 line level inputs (you could use your MixPre to give you a total of 6 channels) unless you pair it with another interface with digital outputs to utilize the AES and optical inputs. It can also be battery bowered from a standard 4-pin cable and can resolve to and generate TC (although I've heard that it needs a stable external source to really be reliable in that department). http://www.motu.com/...o/traveler-mk3/ Generally speaking/independent of specific software: to get multi-track inputs into your macbook pro, you assign each discrete input of your interface to the input of a corresponding track in the software - record arm all the tracks you want to record to, and roll.

Besides not needing the distraction, I've never enjoyed the form factor of smartphones. Maybe I'm too old school Star Trek communicator about it, but I like flip phones...having this giant display in your pocket never seemed comfortable to me, and it just doesn't seem designed to be a phone at all, ergonomically.

I've already made this choice myself, for an identical pay scale (same place maybe?). After some unpleasant few gigs recently, I decided to sell most of my gear and take the teaching job. Ultimately, it was the whole reason I got advanced degrees in the first place: a fallback if need be. If I were single with fewer expenses I might keep trying the freelance thing, but my other half has been very persuasive about wanting me to have a stable income. Also, the pay scale is pretty good considering how much adjunct professors make by comparison, with even less job security (and no unemployment benefits). With all the news about the economy and how many PhDs are working retail or food service, a full time teaching gig in that pay scale is a dream for many people out there and you should feel fortunate to even be offered one. That said, it depends on where you live. $40-50k may not get you very far in some areas, but where I'll be moving that pay is above average for a total household income. With my other half's income factored in, we'll be doing pretty well at twice the average for a 'household' in the area. Like Jim, I have in the back of my mind the hope that I'll still be able to pick up a few day/weekend gigs here and there, but we'll see. I start on Monday. Wish me luck!

I've been able to pick up those dual-channel systems for $500 used. At that price, they're more than worth it.

I was trained and certified on Pro Tools in 2005, then after some research decided to go with Digital Performer when building my home studio (I felt it had the most comparable workflow to PT). At the time, a functioning version of Pro Tools LE for post purposes (yet still very limited and intentionally crippled) would cost you at least $2500-$3000 for the hardware, software and DV Toolkit. I went with Digital Performer and got unlimited tracks, full TC and OMF/AAF functionality, multiple quicktime movie support, auto delay compensation, punches and streamers, full surround support up to 10.2, best MIDI and scoring features in the business, no hardware lock or interface requirements, and loads more for $499 - I fell in love and never looked back. I've since completed many commercial projects using Digital Performer and none of my clients have ever cared what software I used. As is often repeated 'round these parts: it's not the gear, it's the ears! =)

Ultra low budget is often where what we get in production is most valuable. Just as an example, I recently did post for a short form project I had boomed and we ended up using everything we recorded on set featuring an old checker cab in the final mix. It's got a unique sound and I found out in post that there is very little material covering that particular vehicle in the standard libraries (and our access to the vehicle was limited to our shooting days as it had been brought in from out of town). As always: better safe than sorry. If you're able to get good amb/pfx tracks on set, go for it (particularly if it's something special); I don't think anyone who has done post has ever complained about having too much material to work with.

Personally, I don't think I'd buy from a company I'd never heard of before calling themselves iCon.

Just felt like sharing some geographically appropriate tunes.

http://www.youtube.com/watch?v=cOjxBuwBUEE

http://www.youtube.com/watch?v=SesKJw8GJvk