Wandering Ear

Here you go. I used rubber caps instead of the screw on type mentioned earlier, and added a guitar strap for easy carrying. K http://wanderingear.net

My issues with native qt and sync are not with the final product, but during playback qt sometimes drips frames our delays the decoding of a frame in favor of some other process. Things look in sync on playback, next time I playback they look like they've drifted, then they look back in sync. On my old system, powerbook g4, I had this problem a lot with h.264 qts and always worked on dv streams as a work around. I still haven't gotten around to buying a black magic interface, but with a new 8 core tower I haven't had any notable issues. http://wanderingear.net

It's not quite the same thing, but you can use Wave Agent to control the 788 from your computer. You'd still have to transfer the files and load them into an editor etc...

If only. I have to admit, I sometimes enjoy being forced to quality check my work as I bounce down to another audio track in the session (think dancing in the studio to the final mix of a new song), and I won't stop doing this once offline bounce is implemented. Then I have to bounce an hour long show, and don't give a f&*$ anymore. It only takes me 30 minutes to eat dinner.

I use imedion, which like the eneloops are low self discharge. This is key for me because I know that when I pull them out of the case they will be almost full charge and I don't have to worry about whether I charged them the night before. A good charger is important as well. I use the maha 8 battery amd am very happy with it. K http://wanderingear.net

I'll have to play with it, but I could be convinced. Guess I'm still stuck in my old habbits formed on PT TDM5. http://wanderingear.net

+1 for OWC enclosures with drive of your choice (Seagate for me) Also, if you're in Seattle, Pacific Pro Audio makes great drives with Oxford chipsets.

I didn't realize clip gain re drew the waveform. That's nice. I am looking forward to real time fades.

I'm curious why you set macros for these tasks to be keyboard shorcuts, when they are already assigned as shortcuts to the function keys, i.e. F6 is the Trim tool, F7 the cursor, F8 the Hand, and two or more of those will go to auto change mode.

It's called automation. Highlight the clip, adjust the gain. For me, clip gain adds two places for me to set one gain setting, so it's more of a complication than a benefit. Maybe I'm just stuck in my old workflow ways. We'll see. I'll be upgrading to PT 10 in the next month most likely.

+1 neopax

On my shoots the epic owner had the 3d cable, which has timecode and genlock. Cheers K http://wanderingear.net

The boots on the Rean are nice, but only meant to fit over the panel mount connector. They will not fit over the connector housing on an SM, so the lectro boot is still the only boot I know of that works with the SM.

I want it, I want it, I want it.

My suggestion is to check the set screw on the hirose 10 pin when you get your PSC cable. I've seen a couple of them ship with loose set screws, which seems to be an influence in the broken solder connections on mine. I had to tighten mine, and I used a small amount of lock tite 242 to help it stay tight. K

I remember using mic level into my 552 because it was less noisy that way, but that was a long time ago. Based on larrys input, I will try line level again. K

I bought the psc snake, which works fine, but in my experience the manufacturing qc was pretty bad. The cable came with the set screw and strain relief screws loose, and I had a solder connection go bad after only one feature. I took it apart and resoldered the hirose, and lock tighted the set screw, but it was enough to get me to build my own duplex cable that has a few upgrades that I want. I also find the psc belt clip to be very loose and poor quality, so the box isn't very secure. I know several people who use them without complaint, but I haven't been very happy with mine. K

I run mine at -30 into mic level on a 552. I use the built in tone generator to set the input gain. K http://wanderingear.net

Ex drummer here. Avid beat boxer though. Played the kit and timpanis in school, but really only kept up on beat boxing. Me and an ac friend of mine are becoming know for entertaining the crew during lighting setups... dualling beatboxers. http://wanderingear.net

By the way, if you are using a headphone output, it's probably not configured as a balanced output, headphones are generally unbalanced. So you would realistically have hot L, hot R, ground, rather than hot, cold, ground. http://wanderingear.net

Tell me if your experience is different, but recently I wired a g3 cable for a red, and when I did the usuall un balancing trick of spanning pins 1 and 3, the red saw no input. I remade the cable with hot going to pin 2 and ground going to pin 1 and left pin 3 open and everything worked fine. Seemed like the red isn't designed for un balanced inputs, but I haven't checked the manual to verify that. K http://wanderingear.net

It's mis-leading how b&h posts that there is phantom power. This is actually 5v bias for electret condensors http://wanderingear.net

The last two movies I worked on this summer, both indie features with 3/4 mill. budget, we were seeing dailies on an ipad every day, and watching cuts of everything we shot the week before, on an ipad. No special apps. It's easy. I'm curious to see what services are offered that would be worth the kind of money they are charging, cause it'd be pretty easy to setup a web server to do the same thing accesable by an ipad, with password protection. http://wanderingear.net

Do whatever you have to do to get on set, pa, intern for a sound mixer, whatever. In my experience so much of getting work is about your attitude. You can have all the gear in the world, but no one will want to work with you if you have a shitty attitude. If you get along with everyone, your name is likely to be passed around a lot more. For me 99 percent of my work comes from referals, so maintaining good relationships with the people I work with is very important. Booming for mixers in town is a great way to learn the craft, and set etiquite. Good sound starts with good mic placement, so good booming really is the foundation of a sound mixers job. When I started out, I would rent most of the gear I needed, buying what I could each job. It's expensive so you don't make any money and you work really hard, but it's an investment in your future. K http://wanderingear.net

I haven't gotten around to making my own caddy yet, but I frequently use my sit down interview rig, which is a light stand with a grip head and a boom holder on it, tilt the boom holder vertical, and I hang my boom from it during down times. Not everything I want, but it's safer than leaning your pole against the wall to be knocked over. It's winter, which is slow season for me, maybe I'll find some time to make myself a caddy this year. http://wanderingear.net