Michael Wynne

Was able too get my hands on a CL12 demo at the Atlanta sound summit. The LED's are much brighter then the 6 series recorder and compariable to a 788t so it is truly workable in direct sunlight !

In my sixteen years working in the sound industry I'm no stranger to over working and throwing myself out of balance and feeling the consequences thereof. I spent the first ten of those in dark recording studios starring at computer screens. I thought it was my everything and I burned out big time hitting many personal bottoms trying to continue to make things work. This is one of the things that motivated me to make the switch to primarily do production sound. Today being on set, around people and using my body more proved to be a much more fulfilling experience. I'm going to be a father in a few months, I'm a husband of four years and a hobby musician. All these things need to be fed. The more balance I have the happier I am on set. I do often fall off the beam in my work life when I take too many days or am on a long exaughsting project. But these bumps in the road remind me to be more cautious in the future on how much I take on so I dont risk burn out. Maybe this means I won't be one of the sound mixing super stars, but then again my track record shows things will work out better then I could have planned if I keep a balanced life a priority.

I'm hoping that the X1 & X2 LED indicators on top of each channel strip will illuminate two different colors to indicate Pre or Post fade sends and better yet be switchable by pressing through each opinion including send off

This is a very exciting product for 6xx owners. I'm considering pre ordering. My current cart gear is configured with a 788t & Solice mini as mixer. Switching to the 688t / cl12 ads 4 more track iso's, more routing flexibility and less power draw . If the cl12 goes down you can still mix from the rotary knobs in a pinch. Using another 688 or 633 as you secondary back up recorder seems logical. But I could feed the 788t as back up. Would of never thought the 788 would take a back seat position to a 6 series recorder though. 😉

Hi Mike, It was indeed Rackman, Terry Colette Jr was really great to talk too as well. Be sure to ask for him, he's very knowledgable and helped me through the whole order process. They seem like a small shop which I always like and when you call they'll ask if you want Senior or Junior which makes me think he's one of the owners. M

Very Cool, thanks for posting !

Thank you Dominique. That is a Tas Merah TM-1-2 medium make up case which is used for managing transmitters, law's, tapes, wind, etc and everything you would need for wiring talent at the cart or on the go. There's a few mixers in town using this case, and loved the idea so I decided to adopt it into my workflow. I also designed the upper left shelf dimensions to fit this case to give more working room on the surface when needed.

Thanks Jeff ! The top & bottom and shelf surfaces are also aluminum, including the drawers from Rackman. The shelves top & bottom are all 1/8" thick with a 3/8" high U shaped bracing crossing like a T underneath which are also 1/8" thickness. I'm not quite sure on the dry weight but it was quite easy to load into the cargo van which had a pretty steep ramp which was a pleasant surprise. The thought on four pole holders was really a matter of me thinking symmetry and utilizing the space before function. I do have a few poles, and do like the idea of having more boom pole holders and plan to use one of them to hold a umbrella for shade.

So after a lot of research, measuring, thinking and re thinking, asking advice, changing my mind, and designing a 3D model in sketch up. I enlisting the skills of top notch Atlanta metal machinist and welder Jason Dozer to bring it to fruition. Special thanks to mixers Michael Clark for letting me borrow some ideas from his build to implement into mine, Todd Weaver for making me aware of Dozer's cart building skills by sharing his design with all of us, Whit Norris for listening to me talk about it every waking minute during the build, and Jake Slaney for helping me pick it up today. I still have some final details to ad for cable management and power but I thought it was complete enough to share with the group.

Good looking carts, thanks for sharing Rob

Working now on iPad as well !

Sorry to hear that Malcom, hope your wife is recovering o k. Hopefully things will begin to turn around.

Hi Ryan, I'm in the process of having a custom follow cart built as well and a good set painter friend of mine were talking paints and he had mentioned Hammerite as being really great

great looking follow cart in progress Ryan, very impressive your welding it yourself !

+1

3 out of 6 with headphones from my iPad and not really trying or listening thoroughly. The easiest for me was the Suazanne Vega acepella becuase the reverb tails degrade dramatically on both MP3's.

Thanks for sharing this Todd. I had a similar thing happen during a intense Xbox filming with star quarterback Russell Wilson from the Seahawks. I discovered I hadn't rolled on a decently long and necessary pick up shot after the wardrobe had changed on him and background. What saved my ass is I noticed in enough time to notify production to get him and background back in the old wardrobe and get the shot. Fortunately they were understanding and at the end of the day what mattered is I caught it looking at my sound notes and we got the shot in time before he was on a plane that afternoon and gone. For me, shit happens, I take responsibility, come up with a action plan and then learn from the mistake.

I should have clarified that I meant today's film making practice based on my experience and most certainly not all films as a whole. So please clarify for me Jeff. From what I understand the production mix we provide is for editorial, dailies, IFB feed, etc which is all critical to the film making process and the practice of using the production mix track as the primary track in the final film mix however was the standard for many years but hasn't that now changed?

I think it's worth mentioning that often ISO's never come into play until it hits audio post after a finished reel or picture locked cut is complete using an EDL to place it in the pro tools timeline. So no mix track would mean no track to edit too and a big mess of tracks for the picture editors to deal with and summed ISO's that will sound like a phasey mess. However thinkng your mix track is going to be used in the final audio post mix is simply a lack of understanding of that final mix process. Technically the production mix is nothing more then a live mix of the ISO's themselves and with a proper dialogue editor and then a non real time post mix in a controlled and tuned studio environment the production sound teams work as a whole really shines at its best.

I prefer JW for production sound talk. I agree that the quality of Facebook groups on production sound are low. Minimal tech, complaining is common place and sadly slandering can be seen on some groups as well. JW seems to have more integrity, wisdom & and over all a more enjoyable experience. However on a deeper level ( I'm gonna get all conspiracy theory on you now ) I think the Facebook platform itself is highly influential on how people behave and respond to each other digitally. The design of Facebook is quite scary to me. We're talking big ad business here, and a highly addictive platform that wants to influence your thoughts & feelings about a reality that doesn't really exist.

Thanks Mrkva, I'll check it out

I was traveling with my wife today and we stumbled upon a podcast Onbeing with acoustic ecologist Gordon Hempton. It was a fascinating episode that includes a really great interview with embedded samples of his work. His approach to understanding natural silence & spacial environments was truly inspiring and made me think about the significance of sound and listening on some very profound levels. Highly recommend, link here http://www.onbeing.org/program/last-quiet-places/4557

So I think a good question now would be is this behavior specific to the BNC & or Lemo output or is it also possible that it's behaving the same way out of the 3.5 mm TC audio out, I think I'll do a TC audio synch check with the varying outputs next. Also just a disclaimer I am very impressed with the functionality and small size of this unit my intention is to understand more how varying timecode output levels affect the source being jammed / fed TC

Thanks Tom, and after some experimentation that was indeed the issue. One click to the left of 0 is the only setting you can trust for BNC out from my findings actually. What is interesting is what the TC is doing at any other output level. Here's a quick video demonstration of this. https://youtu.be/b50rPhaHsCE

Got to use the BNC28 the last couple days. Loved the size, jammed fine, sent out TC fine via the audio output on the 3.5mm output. However the BNC would not jam the C300, tried power cycling etc. Finally gave up and jammed it from my 633 with no issues not using the synch box. Any ideas? One thought was maybe the output level was too hot ( it was at 0 ) causing it to over modulate the TC in of the c300. But that would not be fun because it needs to be at 0 to be jammed from the 3.5 mm Or maybe it's a bad unit or BNC cable. Will test more tomorrow and update