BAB414

If there will be a cl-12, I'll put my order in

If this thing can't have it's own dedicated linear control panel like the CL-9 then it's just a big waste

What firmware?

Thanks Pete and Constantin

What kind of adapter are you using with that mic?

+1

+1. I've been searching and cannot find a good gooseneck mic with ta3

What's even weirder - testing more videos - it seems like when I'm watching a mono video, the Left ear is a lot louder than the Right ear. Could this mean the Left channel is getting to the Right ear but is being mostly cancelled out because it's making contact where it shouldn't be?

Hey guys, I'm totally stumped. I got the Remote Audio straight replacement cable since my cans were a bit old and one of the ears had gone out. I'm not the world's best solderer but here's what's now happening. Left channel goes to Left ear (as planned). Left AND Right channels go to Right ear instead of Right channel only. I can't figure out why the Left channel is getting to the right ear, full and clear. I tested with a couple different playback devices using youtube stereo test videos. I also put a stereo song in a DAW. Panned full L, I hear L in both ears, Panned full R, I hear R in Right ear, nothing in L ear. Panned center, I think I'm hearing L in L, and L+R in R. Can anyone tell me where I might have gone wrong? Could it be something in the connector end, the right ear cup, or maybe some solder touching something it shouldn't? Thanks so much, Ben

Union TV show added a last minute tandem day for tomorrow and we're short a couple guys. Let me know if you're interested/available. Thanks, Ben 516-476-6189

Thanks Larry. That's what I needed to hear. I'll let you know. As always, loving the customer service!

So the screws I'm talking about are the ones below the ones you guys are talking about (see the image in my pervious post). I've tried #4-40 nuts but they're still too big. Anyone know these dimensions?

Hey no worries Josh, but thank you for the thought. Take em. I'm going hardware shopping today.

Just to update everyone here, the 6-32 nuts I ordered are too wide in diameter. I'm going to try #4 nuts. Thanks for the info though.

I would have thought so, but when I was looking for a nut for some BDS stuff all the mom and pop shops told me to try home depot. No one had it, and neither did HD.

Thank you Robert so much!

You're right. I posted this hoping to get an answer before they opened up today (I'm east coast). Will get in touch with them.

Anyone got any reviews yet?

Any chance of making the power input on the front the default configuration?

I'm doing a little custom project for someone using the ALP 620. Are these screws pictured below the ones you're saying are 6-32? I'm in desperate need of nuts for the ones in the picture and Home Depot can't give me any info on them. Sadly, I know nothing about screw dimensions or nomenclature. Any help would be great. Thanks!

The recent "Who Brings the Slate?" thread got me thinking about what kind/amounts of gear are expected on what kinds of jobs in what regions and for what rates. We always talk about a "standard" package but I'm of the mindset that the factors above really affect exactly what gear the mixer brings to the job. For example, I've heard for ENG type gigs, a mixer, boom and 2 wires is standard. Any additional gear (timecode, additional wires, comteks) incurs additional charges. On larger narrative cart-based projects, I've heard from quite a few people that they negotiate a daily kit fee with the producer, and from there on out, they provide whatever gear is needed on a shot by shot basis to get the production what they need (additional slates/timecode boxes for additional cameras, additional wires, comteks, even certain playback functionality) with the only exception I've heard of really being earwigs. I assume what happens in these scenarios is that the mixer agrees to a rate he feels more or less is fair for his entire kit and then if production needs something he doesn't have, he'll consider charging extra. Does anyone here do this? How many wires/comteks/slates is the limit? I'm somewhat skeptical that when we talk about standard packages, we don't always mean the same thing. What really is standard in a basic package for these different kinds of gigs? And the other question is, if you are adding additional items a la carte on set, how do you get away with that without pissing off the producer? I've had to have an awkward conversation or two with producer types on shoots where extra gear was required that wasn't previously discussed. The money people don't always understand the creative/sound needs and the creative people don't always care about the production's financial needs, they just want the job done. Isn't it sometimes better to forgo the extra $$ (especially if it's something as small as 1 additional wire or comtek) to show production you're a team player, rather than piss them off with what they might consider to be pettiness and risk them not wanting to hire you again?

This looks pretty cool

Is it me, or is that what I just said?

I only ask because on my current job we usually have it set at 17, but I find when using a 416 it needs to be 30 or higher.

Thanks!