Johnny Karlsson

The pricing for repairs of discontinued products was addressed in the SD FB group, and when you read that explanation, it actually makes sense. Lots of allegations and conspiracy theories there, but I have copied/pasted Matt Anderson's comment below (I hope this is ok?), which may help see the full picture. If you use these devices for your business, you should make the money back reasonably quickly. This is all just one more reason to make sure we all charge appropriate rates and gear rentals, with future repairs calculated in. It’s inevitable that all gear will at some point need service, repairs, and eventually replacement. ==== From the FB page: "Matt Anderson - Hi all - thought I'd jump in here, since I'm pretty qualified to speak on this subject - having founded Sound Devices, being the original repair tech here, and still running the company after all these years. I'll also say for better or worse that I've been repairing equipment going on 50 years now which is a bit depressing since it means my physical age has far exceeded my mental age 🙂 At any rate, I understand that you think our rates are too high. However, the bottom line is that we're not trying to gouge, not trying to be monopolistic, or any of the other theories here. The fact of the matter is a few of things: Firstly, our company actually services equipment, and at the component level. I urge you to take note of how many other companies in any industry do this. [And we also have humans answering the phone and providing tech support - over my dead body will we ever get rid of that]. It is exceedingly difficult to find qualified techs/engineers who can repair products anymore. We are always looking (so if you know anyone, please send them our way). Our technicians are paid a good wage, and we offer health care and a number of other things which cost us a lot of money. And I'm not complaining about this at all - it is just a fact, and living expenses keep increasing, especially as of late. The techs that we employ are fantastic and very talented, however it has come an all-consuming job for our HR folks to find qualified people. Why? Because no one fixes anything any more, and because of that, there aren't people who learn how to fix things. I've taught all of my daughters how to solder and fix things, because I think the world needs more people who can fix things, but I digress. So -- good techs cost a lot of money, and we proudly employ them. Secondly, the cost of repairing *older* products is far more expensive than products we're still manufacturing. One of the reasons that we end up discontinuing products is that the parts get obsoleted, and we end up paying more and more for said parts. Sadly, this ends up consuming a good chunk of my time -- finding replacement parts and designing them in to existing products. This is the case with the 633, this is the case with the 970, etc. And the cost of repairing our newer products has gone up as well, because they are simply more complex, have tiny components, and take quite a bit of time to troubleshoot. I used to be able to repair our boards without glasses, and now I need a microscope. Partially, my increasingly poor eyesight, and partially our tiny parts! Thirdly, to keep an inventory of all of the repair parts (growing every day), and keep all of the test equipment on hand needed to verify that repairs are done correctly, is expensive. I've gone on a bit longer than I intended, but I started life as a repair tech, so this topic is near and dear to my heart. And I also feel strongly that we have an excellent repair group and we strive to have a better process than anyone else in the industry. Yes, our repairs are not cheap for all the above reasons, and we are trying to provide the highest quality service possible."

Not sure what the exact size would be, but maybe this could be something to start your research: https://www.locationsound.com/psc-rubber-band-for-pscs-universal-shockmount--979

I soldered the XLR cable, and bought the coax cables assembled from Markertek, they are Belden 1855A HD-SDI Sub-Mini RG59 BNC Cable - I think the brand is Laird. Wrapped all 4 in PET Expandable Braided Sleeving by Alex Tech . If you don’t know about these sleeves - look them up, it will change your life

I have a snake I made with 1x XLR + 3x coax (SDI) to send audio to VTR, and receive up to 3 camera feeds. I have never needed a converter, even with my almost 10 years old BlackMagic duo. Can’t remember ever getting a wireless video receiver.

I believe the load is correct at 50 ohms, meaning it should be fine with an RG8x. The cable you tried may have some kind of internal damage. I would try another cable to see if that makes a difference.

Yeah, I’m just nerdy and wanted to see how far I could go… But Level 2 actually had a few things I found useful to know, even though I probably won’t need to use most of it. But I’m like that with all gear and read the manual, because I hate “grey areas” - I want to know how everything works, darnit !!! Haha!

Yeah! Being an “analog person” myself, I was at first suspicious…. But a couple years ago I got very much into Dante and have already forgotten that I’m supposed to worry about it. I got level 2 certified, and re-did it again when the updated second edition came out. It’s free, and I highly recommend doing it. Level 3 goes way into network stuff - I started it, but decided it was too much for my purposes. Derek - no nightmares here. Maybe check that all of your devices are updated to latest firmware versions. Other than that, make sure the cables and the switch are in good shape. If it’s only a Scorpio and one DSQD, you don’t even need to keep the switch connected after you set it all up in Dante Controller - just hook the two together directly with a CAT6 cable and they will remember the connections you set up last time Dante Controller was connected.

Check out the VILTROX DC-70EX 7" 4K HD 1024x600 HDMI/SDI/AV. Pretty great for the price- like $160. Has 4-pin XLR locking power, in addition to BDS compatible plug input, and can also run on a Sony L-mount battery. Has 1/4-20 on all four sides for mounting. Maybe not “perfect” picture, but who cares - I’m a sound mixer, not doing color correction… I just need to see the framing and TC etc. comes with a shade that when folded functions as a protective cover for the screen.

https://sonajobarteh.com

Why not ask Eric directly? https://www.facebook.com/groups/746603965484865/user/1341225709

Relative to a MiniCMIT, yes. But way lighter than a 416. 416 = 175 g 2017 = 115 g MiniCMIT = 78 g

Hey Dan, that little dot (star, if you have made a post in the thread) next to the subject line is exactly that! Click on that and it will take you to the first unread post in that thread.

Hmmm, I managed to install it on my MacBook Air M2. Can’t remember that step, but “right-click” on the trackpad is two fingers.

Hi Jim, Did you try this: https://www.sounddevices.com/installing-wave-agent-on-mac-os-catalina-and-big-sur/

I have also noticed that the SMV and DBSM will get better run times than the SMWB. One way to get better run times with NIMH is of course to use the dual battery transmitters. In my tests an SMQV will run for about 8h20min with eneloop Pro or IKEA Ladda 2450.

I believe energizer ultimate lithium is rated 3500mAh. (And have become ridiculously expensive).

This is what my earlier comment is based on. I was on a semi amateurish shoot years ago where the script supervisor was looking at an atomic clock they had and thought there was something wrong with my timecode slate, because it drifted apart severely from the atomic clock. But of course, the slate and recorder were in perfect sync. You can jam a TC device from your phone, and check and compare it after an hour or two and you’ll definitely see several seconds of drift. This has been discussed before, and while it seems simple enough on paper, I do believe there is a reason why SMPTE came to a consensus and decided on the standards we now have. Different frame rates… broadcast standards in different regions…. Differences in electrical grids… etc I am definitely, absolutely not against innovation and new ideas, but unfortunately there is (usually) no simple solutions to complex problems.

Excuse me?

Ok, here’s one simple answer: time code and regular clock time are not the same. You can easily see this if you try jamming your device to time of day. To best illustrate this, compare it to your phone’s clock, which should be accurate because it’s pretty much continuously updated when you have a cell or WiFi connection. Already after an hour you’ll be 10 seconds out.

100% definitely keep the silicone pouch on the SSM. As Edward mentioned, mount the mic pointing down. Also mount the SSM upside down to avoid sweat getting into the Lemo connector. Viviana or Ursa waist belt *should* work.

Always keep the labor and equipment separate. That should be $850/10h day labor + $500/day for base package - Mixer/Recorder, 1x Boom Mic, 2x Wireless Lav Mic sets. I will include a TC Slate, or sync box for camera, but IFB is extra @ $50 for the Transmitter, and $25/ea per Receiver/Headset. Additional Wireless is $85/channel.

That’s just bs negotiation tactics. Just reply with “Sorry, but I don’t know any professional sound mixers that would do it for that”.

The living costs are arguably higher in LA and NY than in most places. Take a look at house prices, or monthly rent for small apartments. Or even compare gas prices. I did a job in Atlanta once, and I overheard a couple people on the local crew talking about how “crazy high” the gas price was getting. I was thinking to myself; wow, it’s at least $2 LESS per gallon than it is in LA….

Quick answer: With short cables, you can use regular XLR cables. If you’re going longer, you want to look at getting specific AES cables. The whole internet is full of discussions on the subject. Just Google it.

Thank you guys . All very good info. It is always helpful to try to understand a problem from the perspectives of both sides. I feel some things still don’t add up. For example; how can it be that they are spending more than they make in 2023? It has been slow since January. Many Productions already came to a halt in the beginning of the year- before the WGA strike even started. I guess it was anticipated…? But the question remains - if everything is shut down, where is the money being spent? Bonuses for those who made bad decisions and did the over spending ? lol