JonG

This has been asked ad nauseam on this board. Please read read read, it’s what the forum is for.

@Johnny Karlssonthank you for your update. I’ll try what you did as well. Regarding payment, you have to go to a different page that they call CORES. I don’t understand why they make it so complicated. You have to re apply (and there are no instructions or explanations regarding the form), then you have to ho to another part of the site to make the payment, but both sections of the site do not link you to the other! It’s perfectly insane.

No doubt. Denecke’s service is great. But the space the GR-1 takes up vs the GR-2 is also something to consider.

To echo what has been said, I am a real fan of the 788T. It was my first professional machine, and it is still in use. I also own a number of other devices, including the 833, which does have exceptional features. But on a cart with a CL-9, the 788T really doesn’t have many rivals other than with track count. The quality and functions of it were really dismissed with future generations of devices, and they are barely catching up as people note what newer machines lack, that were available so many generations ago. If you can’t afford a used 788T today, you may as well wait a week and save up, as they are going for unbelievably low prices. I’d take a 788T over a MixPre or rival budget recorder any day of the week.

Theres a pretty cheap GR-2 at Gotham consignment. Newer, and they take up less space on the cart. I have one and it fits perfectly between two comtek base stations (the ones with the readouts) on 1u 19” rack.

I’m not a fan of the fact that our only option for recording while transmitting is Zaxcom. But I definitely believe in their right to hold the patent. Anybody here who claims to believe in Zaxcoms rights, and uses products from companies that have blatantly ripped off other companies equipment should look in the mirror. I can think of a few companies that have done so, and yet people in this community seem to wholly embrace their products. It doesn’t make sense to me thats for sure. That said, I would be very happy if Zaxcom would come to some agreement with other manufacturers to allow them to use their technology. I don’t hate on Zaxcom, I just don’t use their products.

Blacklist s7 e13, the bad guy went insane from industrial noise, and sought vengeance to those responsible. A possible future?

Consider, if you look through the “show me your bag” thread, how many people are powering their entire bags off of a single broadcast battery. Most of us use NP or eSmart batteries, but for some reason some of the younger crowd are going with V mounts, which seems to be a lot of excess weight and bulk, but to each their own.

It sounds like you need to learn a little more about power, so you won’t need to ask about every piece of gear you get. Most items found in a sound bag are 12V, and can often operate on a range from 11-16V.

I held onto my single band Lectros until the FCC repack made them useless, with no open frequencies across two out of three blocks I was on. I was able to sell off what I had and eventually ended up on Wisycom systems, and am very glad I did. There are some things that I miss with Lectro, but I feel like most things they’ve introduced with their newer systems are already available with other companies, and they continually go up in price, but always a few steps behind the rest, and in my experience, the quality and functionality isn’t quite up to where they were in years past. Just my opinion. That said, if you’re looking for deals, there are plenty to be had if blocks are wide open in your area. Where I live, wideband is necessary due to all the radio and cell towers, and flat terrain, so I’m being bombarded by all used bands from all sides with no geography to provide blind spots like Los Angeles has. edit: Whatever you do, do it as you can afford it. Do not go into debt unless you can realistically predict that you can afford to pay it off. I started out with my laptop running Pro-Tools and a wired boom, rented mic and home made boom pole. Within a few months a had a portable two-track recorder and my own 416. Within a few months I had my first set of Sennheisers. A few months later a portable multi track recorder, and more wireless. Within about a year and a half I bought my Sound Devices 788T new, as well as proper powering, real boom poles, and my first couple sets of Lectros. But I bought all that with money I made doing sound. I never got into debt until I was well established, and had good enough credit to get a credit card. But as a newb, it may be best to work your way up to mixer by booming/utility for more established mixers. That way you learn about the gear, experience the pros and cons first hand, and build a network that can guarantee a smooth transition into mixer in a few years when you can get your own gigs because you already have a network and clients, and you can afford to get the good stuff when it’s new. That’s been the best road to success that I’ve seen amongst my friends and colleagues. I wish someone told me that back in the day, but we didn’t have the social medias and communities like we do today.

I’m just using some Shure 1/2 wave rubber duckies. They’re BNC, had to get adapters. They’re adequate for what I need. If I need more range I could hook up some fins and get range for days. Honestly, this system is absolutely fantastic. The fact that there are no cables involved, means that re routing one channel to any track without digging around and unplugging things in my bag is amazing. I can’t believe it took this many generations of machines to get that function back.

Ask yourself what your needs are, then read the manuals of the machines you mentioned, and decide which one is best for you.

👏👏👏 this is the one of the big issues. Sound must maintain rf priority (remember that we are supposed to be in charge of all wireless on set!) before one can expect perfect broadcast audio to camera in a wireless environment. Number two is that anybody expected to provide two channels of 100% useable audio should not only be considered in charge of wireless on set, but they should also be compensated for it.

Audio-Technica large diaphragm condenser mic, side address, being pointed as a front address for a radio announcer, on an episode of Smallville. Gotta love how sound isn’t consulted on tech things from art

Those numbers are correct for non union non commercial rates but I’d say you should look at bumping either category by at least $50 each by the new year. There has been a lot of discussion on this in private groups, but if you search for peoples web sites, their rate cards should reflect these numbers and terms. oh and the term kit has been abolished since we provide an equipment package rental, and invoice for that. Not a kit that goes through payroll.