JonG

As you know, clients can be completely irrational or unpredictable, so being able to make quick edits or __________ (fill in the blank) is important. I have friends who have only used an old recorder like a 702T for music video playback with TC, and the lack of control freaks me out. I’ve had some pretty crazy on the fly demands that would be impossible if I didn’t have a system that I could deploy at a moments notice. Do most of my playback duties only require playing a song or sequence w/ TC from start to finish? Yes. But not all. Like when doing normal mixer duties. I can remember a job that was 20+ days cart work, having the next days schedule, and deciding not to bring a bag because it wasn’t, and hadn’t been needed the entire shoot. Come to the end of the day and they decide to do a non scheduled car driving scene with four people talking. The one day I left my bag at home. It would take too long to cannibalise my cart, but I did manage to get a makeshift solution in place that made the final cut. But they weren’t happy that I didn’t have an extra sound package laying around that they didn’t ask for and weren’t going to pay for. Cost me a client. So back to playback. Why mess around with some third party software that I don’t have years of experience with and don’t already own a copy of that may or may not be able to do just about anything I need it to do at a moments notice? Also, remember that we are the sound department. Everyone will lose their minds if heaven forbid we need 30 seconds for a last minute request. We’re not literally any other department, where there is always time for them.

I have multiple copies of PT, I have been PT certified for nearly 20 years, I know it very well, and all my templates are PT files. So my workflow is fast and efficient, and I stand a stronger chance of being able to share sessions with other engineers. Why switch to another platform that may very well no longer exist in the coming years?

These days there are so many wireless coordination software apps that I don’t even begin to know where to start. It seems every company that manufactures anything wireless has their own software. I have an old Mac Mini (2012) on my cart with a dated OS that I use as a Pro-Tools (PT10) playback machine, and nothing else. I don’t particularly want to upgrade the OS and make my Pro-Tools no longer work on the machine, but I would like to incorporate some sort of wireless coordination software and not just rely on my receivers. I am mainly running Wisycom for talent mics, but still use some Lectro digital hybrids. I also have Lectro IFB (R1As), and Comteks (75 & 216). Who knows what else will be added at a later point. So the software should be able to know what to do with those various types of signals. And as an additional question, how does this software scan and know what the wireless landscape looks like? Up until this point I’ve just used the receivers scanners since I typically don’t run a ton of frequencies, and I’ve used vastly separate frequencies for things like IFB, talent, and hops. But things are changing and I need to be able to move with the times!

They are bullet proof, so any time you’re in a situation where a more fragile fancy mic like a cmit might not cut it.

Sound Hard

The Cosis are only available for short shotguns. I asked them about making them for regular ones but they said there was no plan to.

I’ve always used Garfield softies, but the one I use on my 416 has just about had it. Since they no longer make them, I’ll have to switch to another brand. I never liked the original Rycote ones, I always felt that the slightest breeze would produce wind noise. These days there are more options available. What do people recommend?

Remember that DITs were in the sound union 695 before camera, 600, stole them from us. They do not report to camera, their job is to wrangle data. Any extra camera department duties they do is something that’s been added to their principal duties since their abduction.

A Nagra III on Genius MLK/X

I have a feeling that this dynamic mic facing the ceiling away from the presenter wasn’t very effective.

I never had a 702T back then. When I could afford it I went straight to the 788T, and I’ll never get rid of it. I did eventually get a 702T on the used market for smaller projects and still use it today. I knew that it was very pricey when they still made them but just didn’t remember what they cost. Before I could afford Sound Devices, I just remember that there wasn’t anything on the market to my knowledge that had time code that was less than $2000.

I have a custom cart designed and made by Gene at Audio Dept that has mounts for C-Stands on both sides. A generic umbrella from Home Depot fits perfectly and costs like $20.

The title speaks for itself.

Drew from AD had some spare Loon internal coiled cable for a while but ran out. Unfortunately you’ll have to replace it with K-Tek or PSC cable, which does not have Don’s patented matte finish.

I have Nelson’s mixer. It is an amazing sounding unit but it needs a lot of upkeep, and everybody that used to service it has retired so I can’t really use it anymore. Plus it has been modified so much that some technicians just don’t want to touch it. Sad really because I really enjoyed using it. But it is very different than 1073s or other more musical Neve mic pres. The 5422 and other 54 series mixers are made for broadcast, and although they have a nice big sound, they are a lot cleaner and meant for dialogue.

Aside from the above arguments, we also use equipment that is as transparent as possible. Neve 1073s have a lot of harmonic distortion, which gives a lot of character to your signal. Not practical for dialogue recording. If you ever had to match re recorded dialogue with dialogue recorded on a 1073 they wouldn’t sonically match. This could work with SSL mic pres but again, you still have all the above arguments to contend with.

You should really stop referring to your equipment rental as a kit or a box. That is incorrect terminology, and you may get taxed if you call it that. Also production insurance might not cover your equipment if you call it anything but an equipment rental.

I would borrow or rent before purchasing to get to know it and decide if it is for you. I don’t agree with the “buy a cheap tool first” way of things because it’s a waste of money. Buying cheap gear can often mean that you will have a hard time selling it later. Buy once cry once is a more common sense way to go about things imho. But ultimately the decision is yours.

I use my 702T to digitize vinyl records and reel to reel tapes if that helps. It’s just more convenient for me than running lines from my computer which is in another room.

I would wager that since the cmc6 is the “oldest” amp body that they currently still make, they probably just didn’t want to advertise that this would work on older models as well. Like you, I have a variety of bodies and capsules that span decades and I use them interchangeably. I don’t see why this wouldn’t be just as flexible.

Ok this is a lot more involved than I would be capable of accomplishing, even if I could track down those parts. Darn, I was hoping it would just be a cable I could just buy.

Could you share with me the hardware you use to have cl-wifi hardlined? That sounds quite interesting.

Any way of making this available on ios would greatly broaden your usership. I’ve seen a lot of people, particularly in the international market, rocking the 788, so they are still widely used. And you’ll have to pry mine from my cold dead hands before I give mine up!

Only you can answer this question. Will your needs grow in the future?

Weird hearing this. I have three Loon poles, two purchased directly from Don within the last year or so before he passed, and one used. None of them have any movement from the tips. Rock solid. But glad to know there are workarounds if it does start happening.