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Joshua Anderson

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Everything posted by Joshua Anderson

  1. I didn't think those counter weights helped with the "rainbow" effect. I thought they were just to help with the large difference between pressures on each arm when on a fully extended pole with a heavy mic. The "back" arm has little weight to hold compared to the "front" arm - where most of the pressure is. I thought the counter weights, by evening out the weight distribution, made the pole more maneuverable. But I've never used one, so what do I know? josh
  2. Hi Landon, VDBs are fine. Light. But too many sections for me when I boom. Good for ENG. Unless you need to, I would not buy a pole. Try the ones that the mixers you work for have. You might be surprised by which pole you prefer under working conditions. Josh
  3. I remember being in a 'sound class' in college and we had a guest speaker tell us how the noise level of the NYC subways was already at a dangerous (or almost dangerous) level. When people added headphones at levels to mask the train noise, they were doing considerable damage to their ears. A lot of our 'regular' life like sirens on ambulances/police cars and certain machinery are already at such a high level as to cause damage. But there is rarely any public information given out to warn people of it. Josh And I still listen to headphones on the train myself. I try to keep it low enough to not hear my conscience. Which is sometimes too low to hear the music.
  4. With the internal adjustment, you can turn the 18v pin into a a 15v pin. But I would take it to a shop to do that. Fostex machines say they want 12v, but they really want 15v. Then from the power max, you connect hot to pin 3, neg to pin 1. When you get to the PD6 side, that hot lead needs to go to Pin 4, while keeping the neg/ground on Pin 1. Josh
  5. The PSC M4 MKII came with that sled/tray. I believe it holds 8 AA (it's in my storage space - so I can't check it). It's not listed on PSCs website, so I guess it's been discontinued. Maybe their newer mixers have the same NP-1/AA tray and slot? Maybe you can build your own with a hammond project box and some terminal connectors from radio shack? Josh
  6. Does buying a used Cooper negate the whole support/warranty that might still be available now for an original owner? If not, which companies or machines get to vie for the mantel? Josh
  7. A Ha! I guess I missed it. Jeff covered the "Y" cable scenerio in Post #2 and I overlooked it. I guess I was expecting some sort of heady discussion on the merits of splitting a signal or not - a ha, newbie strikes again. That was my main interest. I think the choice of how you "back up" really has to do with your comfort level. On one extreme you can have a boom operator holding two mics, with two separate lines to two different mixers - feeding two different recorders. And after that it's a degree of your comfort and experiences with being burned by the machines we trust. Josh Sex and sound, Crew, A lovely but nerdy combination if I've ever heard one.
  8. Hey Crew, I certainly agree in all aspects that whatever works - works (Hey, isn't that the job?). My question - or what piqued my interest in this thread - was when wiring up "your" cart, does it make a difference to split the cables out on a short run to 2 different machines. There are certainly many theories on what constitutes a "back-up" (be it, a machine that records a mirrored copy or two machines so that when the two act independent of each other in case of failure). But that all really seems to be a comfort and personal experience kind of thing. I guess I'm thinking about the nuts and bolts level as aside to the theoretical. Maybe, I don't know... Josh
  9. I don't want to beat a dead horse here, but Brian asked in the initial post about splitting a feed from his ISO's to 2 different machines. Does anyone have a position on that? I'm certainly curious... Josh
  10. Maybe this is all just my naivete, but... Is there really a discernible difference (signal loss) between an un-split short cable and a split "Y" cable when the cable runs are so short (usually under 2 feet when between various components on the same cart)? Josh
  11. There's been a steady amount of news and updates over at deadlinehollywooddaily.com If you dig down a little, there was some recent mention of how this tentative WGA deal and a prospective SAG deal may be related by pattern bargaining / favored nation clauses. Hopefully, with an end to the WGA strike, the AMPTP negotiators can start talking with SAG now and get something together in advance (like they did with the DGA). Josh
  12. Instead of piggy-backing audio cable on the video line drops, can the video lines be installed with 50 Ohm cable as well? Then you can drop antennae near the camera rigs. I would assume you would need an amplifier (Lectro UFM230?) on each run to compensate for the longest distances. At 50,000 square feet, if your stage is a square, then you're talking about 225 ft. by 225 ft. (The longest run at the diagonal would be 316 ft.) Depending on where you are and what kind of RF is in your area, this might be doable. Here in NY, with so much RF, that distance would really start to stretch the reliability of that setup - and probably wouldn't work. Josh
  13. I don't see any reason why not to have the buy/sell section restricted if there are going to be concerns of spam and whatnot. There are already plenty of outlets like eBay available to try to market gear to a large amount of people. Having the buy/sell section here restricted to registered users gives sellers an option to offer to people they know or at least provide a little bit of "security" about reputation. I'd always feel better about buying and selling equipment when the ad is on Jeff's site or RAMPS than on eBay.
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