Richard Lightstone, CAS

They sold out everywhere, Best Buy, Amazon, Google very quickly. I'm back ordered as well.

I've been using the Xantrex 1000 since 2004. Mark Ulano probably a year or more before that. You are referring to the Xantrex Freedom HF1000, with the built in charger? I have had no "filtering" difficulties. I have several ac powered pieces of equipment in use all interconnected to the Yamaha mixer. Previously, I also had all my dc equipment running off the same main battery, that was also powering the inverter, again no "filtering" issues. I have not heard of any problems from the other Xantrex users either.

Jeff, Thank you for starting this "one stop" Dante thread. Even though you felt my post to Zaxcom "was somewhat disingenuous with its faux concern for the future of Zaxcom and the Deva." - it did start people asking and talking about the viability of the Dante network, including Mr. Sanders himself! This thread is now going to be a valuable resource for a lot of people contemplating utilizing Dante. I salute Scott Harber, Brett Grant Grierson and Phil Palmer, to name a few, who have embraced this technology and are boldly using it in their day to day production mixing. In regards to the ever increasing track count. Not one of us enjoys the need to have to wire eight or more cast and then get the job done with two or three boom microphones. This increased track load is being driven by both production and post editorial, partially due to poor location choices, misconceptions about how we do our job and the skill of production mixers. Ironically, in 1978, I worked with the late Bob Gravenor on an Altman film, where recording eight tracks and wiring the cast wall to wall was the only way to do the job. I guess we've come full circle, where everything old is new again.

I used to have four of the Vega 67B's. I would stack them together on a baby plate and put them as close to the edge of frame as possible. They would go through 9 volt batteries by the ton. I believe the Accessory is a Tuchel connector. Just pop the cover off and follow the traces to see what they do.

Simon's dual van system looks terrific. Has anyone looked into the insurance liability issues in North America? What I'm asking is, if you are hired on a production and they are paying you a rental fee for your own mode of transport - what happens if you are involved in a pile up before you reach set and your equipment is a total loss? Or as it sits idle over a weekend? Would they still pay for loss as opposed to if it were on a production truck under their control, with their drivers?

Would the regular mounts work for the CMIT 5U?

Not sure of the shot dynamics, but was there a possibility you could have remoted your receiving antennas and possibly had your utility "walk" them closer to the actors?

Here is an interesting article on the use of Dante and really thinking outside the box. Lectrosonics DNTBOB 88 Dante Breakout Box Streamlines TEDx Conference http://www.prosoundweb.com/article/lectrosonics_dntbob_88_dante_breakout_box_streamlines_tedx_conference/

Brett Grant Grierson is currently using the Pix 260i, via the Dante network for this purpose on the show "Sons of Anarchy". Also Phil Palmer has tested the same setup with the Yamaha 01V96 mixer and is about to start another season of Glee. Scott Harber is also using the same system. There are threads here on that topic as well as video of a demo of the Dante network from a seminar hosted by Location Sound Services. There is plenty of anecdotal information available to give you a lot of material to help you answer your question and more.

I'm using a K-Tek 152 (12 ft) pole with the K-Tek Shark antenna mount - a match made in heaven.

Even though you are thinking about space considerations, is the HF 1000 that much bigger than the Samlex? I'm sure you could fit it next to whatever battery you use. The dimensions (H x W x L) of the Samlex; 3 x 6 x 9.5. The HF 1000; 4.2 x 9.5 x 15.5 When I put my rack style cart together I wanted it "future proofed", so I invested in more wattage then I currently used. I first used it in Hawaii on "Lost" where there were many days when a generator was not available for several hours - I believe my longest time with out "shore power" was about 5 hours and then I powered everything with the AGM battery, so I was drawing about 11amps or 132 watts - that's more than 1.5 times your expected load. In my thinking I had comfort in knowing that I could power more equipment if required, without over loading the Inverter. Ironically, in today's world of HD, it seems we always have generator power - plant or even a Honda for their video monitor needs and more. Don't expect Yamaha to answer your question as it might apply to the "film" world. They probably only think about it in terms of A.C. power. Finally, make sure you have an excellant power conditioner, like a Furman or better at the head of your A.C. chain. The Yamaha has about 5 internal fuses - I only know of one Mixer who blew them all on the lot at Universal Studios due to a brown out. My Furman has saved my equipment several times.

As I said, I also run a Mac Mini and 1Tb external hard drive as well as a small ampiifier/sub woofer with satellite speakers along with the 01V96. The Prosine 1000 W Sine wave inverter is very reliable and proven in the boating world, so that's what I use. I never thought about a smaller wattage, but if it's about saving dollars, I'd say 300W is about as low as you want to go. I bought the unit in 2004 and it's still going strong, working every where I've been in the last nine years from Morocco to Hawaii and more places than I care to remember. The HF 1000 is the newer version of what I use, it has a built in charger and a smaller footprint and is about half the price of what I paid for the Xantrex 1000W Inverter and separate 20a charger. The HF 1000 goes for under $400 on Amazon - that's a great deal. http://www.amazon.com/Xantrex-Freedom-Inverter-Charger-Watts/dp/B0012R2OWC BTW, I believe Phil Palmer first used a Samlex Inverter and then switched to the Xantrex HF1000. Perhaps he'll post here and explain why he switched to the bigger inverter?

I run more than just the Yamaha 01v96 through my inverter. In my case I split the power needs between two separate systems and batteries. A 79 Amp AGM Marine battery for the Prosine 1000 Inverter. A 33 Amp Lead Acid Pelican case style battery for my PSC Powerstar for all the carts 12 volt needs.

JBL Eon's. A pair of Shure SLX wireless receivers with Shure SM58 handhelds. I picked the frequencies close to my Block 21/22 Lectrosonics so I can tune them in if needed in the "Mode 6" setting. One is for the Director, the second is for the AD.

I worked with Vilmos on "Life as a House" in 2000. He is definitely one of great cinematographers. His visual style on that feature was not too sound friendly - but who cares it was Vilmos!

Did you first install the Google Search app? To uninstall an application purchased or otherwise installed from the iPad App Store, simply do the following: 1. Hold your finger on either the icon for the application you wish to uninstall or any other icon until the icons on your home screen begin to shake or wiggle (the same action you take to move or re-arrange home screen icons). 2. Click the "X" in the upper left hand corner of the icon for the application you wish to remove. 3. When prompted, touch Delete. 4. To prevent the app from re-syncing to your iPad, plug the iPad into your computer. Under the iPad -> Applications tab in iTunes, de-select the application from the Sync Applications list.

Good job, Phil!

I used to make microphone tubes out of plastic pipe and screw caps purchased from a hardware store's plumbing section. I would glue one end cap and the other free to screw on the end cap. You can find the right diameter and the foam windscreen acts as the extra width to protect the microphone from bouncing around. The only caveat is in today's world of TSA - they look suspiciously like pipe bombs!

Anna Wilborn has been in the business for many years here in L.A. and is the daughter of long time mixer, now retired, Charles Wilborn. The skepticism is proof that many of the "younger" crowd here does not know all the players in this market.

I posted this on the Zaxcom Users Group. I am re-posting this here to see if it will generate a wider response. This year there wil be many of us who will be migrating to Dante networking, specifically Zaxcom's major competitor with the Pix260i. Over the next year there will be a lot of us faithful Deva users dumping our Deva 4, 5 and even 16's as they will not be able to compete with the ability to record 16 -32 AES tracks with a simple Cat 5E cable. So I'm urging Glenn and company to build an upgradable factory retrofit of our Devas to the Dante specs. Think of the ability to use your Deva 16 with all 16 tracks via AES and not the current kludge of 8 AES combined with 8 analog. I urge Zaxcom to explore this idea and if the cost of the new cards, licensing, labor, etc., is less than a brand new Pix260i - then it'a a win-win for us Deva lovers and Zaxcom! You could poll all the currently registered Deva users and find out if you have a substantial number of customers to attempt this future-proofing of our recorders. Otherwise, I foresee a major drop in Deva customers. Respectfully, Richard Lightstone, CAS

Anna, Congratulations! You should also post your place on "Six Degrees Housing" http://www.sixdegreeshousing.com/home This caters to those in the entertainment business. I believe Todd Maitland is one of the people who set it up.

I'm truly sad to hear the news of Bob's passing. I was in San Francisco for just one day, in April and texted him to try and get together. I did not get a reply and should have known that something was up. Bob had an amazing career and no matter what was going on in his crazy life, he was always there as a friend and mentor. I first met Bob on Robert Altman's Quintet, in 1978, in Montreal. He was the kind of mixer that let you do your thing, but was always there to give you tips, ideas and a good motivational kick in the ass when needed. Bob was the Mixer and even though I was a mixer there locally - I really worked as his Boom Operator - essentially wiring the cast and making sure every thing on the shooting floor was running smoothly. Bob was warm and dry in a large construction trailer at least 300 feet away - with no video either, so I was really his eyes and sometimes his ears too. That show was quite an adventure, a great learning experience and Bob and I became true friends. When I moved out to Los Angeles in '83, he was right there, offering help, motivation and his great sense of humor. I'll never forget Bob and Jim Osburn as his Boom Op, working second unit for me on "Outbreak" up near Eureka, in Northern California, or him doing more second unit with me on "The Net" in San Francisco. I've spent a lot of time at his last place on Beachwood, lots of parties, listening to music, shooting the breeze and hearing his many war stories. Yes, Bob was a hard living guy, but his heart was always in the right place. I'll miss you Bob. Especially his random phone calls from where ever he was hanging out in the world. God speed and rest in peace, my friend.

There is a "standby" mode on the SMa if you do not hold down the buttons for the power on sequence long enough. Try shutting it off and re-power holding down the buttons until after you see the LCD do a count from 1 - 3. From the manual: Power - On The numerals count up from one and the boot sequence begins when the count reaches three. “LECtro” is displayed as the boot sequence begins. If either button is release prior to the screen reaching numeral three, the unit will enter the Standby Mode with no RF output. Standby Mode Pressing the AUDIO and FREQ buttons for about one second places the unit in Standby Mode. In this mode the RF output is turned off so all setup adjustments can be made without interfering with other systems operating in the same location. The screen displays “rf OFF” to remind the user that the unit is not transmitting.

in 1983, on "The Terminator", I had my sound cart on the back of the insert car. The insert car was leading the hero car driven by Arnold Schwartzenegger. We raced out of an alley and made a sharp left hand turn onto a downtown L.A. street, I could feel the front and back passenger wheels leave the pavement. We almost tipped over as I had to use all my strength to hold both the sound cart and myself from flying off the vehicle. This was long before the days of safety harnesses and strapping every thing down. Since then, I've always sat in the cab. In the 80's it was my Sonosax mixer and my Nagra, later the Fostex and now in the digital age, I have a bag that is a mini studio; my Deva, a Lectrosonics Field Venue and Comtek Tx - everything I need to do the job. I no longer need to be a hero, just get good sound and live a little longer to talk about it.

Henchman is probably speaking from experience.