RPSharman

Hello, If I have two CF cards from two different 788T recorders, not all files will exist on both recorders. The common files will have same file name and start and end points (exact) as the machines will be linked. I will only roll two machines if there are more than 7 ISO characters and a mix, however. I don't have the setup currently to try out this demo. What exactly is the procedure to merge files from one CF to the other, or must you pick a third destination to send the files to?

Comedy :-)

Very interesting indeed. Thanks.

That is cool!! I now wish I still had my other 788T - although I could probably re-buy at less than I sold it for. Does it merge the metadata, like track names and such?

Currently... this is just two separate products in one box. So great value.

I'm a fan of analog ins. Not a a fan of connectors on the wrong side, like recorders with headphone jacks on the right when all headphone cables run on the left.

Just a good-spirited joke :-) I am glad to see from Glenn that it's out in the wild. Although I have been a harsh critic at times of certain aspects of the Zaxcom experience, this machine looks absolutely brilliant.

Glenn created Irma because the Deva 24 was not ready. Too soon?

If you've got a CMIT and are happy with it, I would stick with it. I have owned both CMITs and 4017s, but have since passed on them. The sound in virtually identical in many ways, with subtle personal differences as to what it "better". In the end I bought a pair of 8060s, which match well with my 50s, 4071a and COS11s. As noted above, you are splitting hairs when discussing the quality and performance of any of these mics. It's just down to personal preference. And also, as noted, phasing will have nothing to do with the mic, and has more to do with placement. Unless, of course, the mic has reverse phase (i.e. COS11). In which case you just flip a switch.

Seems exceedingly unlikely that it would be a production sound error, and as unlikely a post choice/mistake. My guess would be the theater. I experienced muddy unintelligible dialog on one of my films recently at one theater. At another it was crisp and clear, as it had been when I attended the final mix.

I went to the premiere of "Annabelle: Creation" at The Chinese Theatre. Home of many big "Hollywood" premieres. I had been to the mix, so knew what it was meant to sound like. The sound in the theatre was muddy, some dialog unintelligible, and some of the story-telling sound effects were nearly inaudible. I went to a regular multiplex a few days later and I sounded great. Crisp and clear. It seems The Chinese Theater has some "issue" with sound that can't be resolved due to the building's landmark status. I find that hard to believe. Such a shame too. The director looked very confused throughout as he was clearly recognizing when things were getting missed.

You can buy them from the UK distributors - Wendy's Broadcast or Pinknoise to name a couple. They are not allowed to sell them to dealers in the US, but I don't believe the same restriction applies to individuals.

Here's the thing. Sometimes a CUB sounds great (rarely, in my opinion). Sometimes a lav on the actor is the only way to go. I sometimes use my DPA 4011C in the center below, or an MKH50. Lavs are almost always in the visors. Every car sounds different. I bet these new Trew things are awesome a lot of the time. I didn't like the omni goose at all, but it was "fine". I expect the uniflex 4080 will be superior. But any type of shoot-out comparison really doesn't mean much. I am excited by this product, and if I have some heavy driving stuff coming up, I will likely buy 2.

So, in short, if we want to deliver one CF card with 9+ tracks in one Wav Poly file per take, then we just need a machine with more tracks. In breathless anticipation of the new 716 or 816 (funny) from Sound Devices.

They keep me away from the important people so I don't say some stupid shit at the wrong time.

As I hope you have now discovered, jamming TC in the 633 menu refers to jamming the 633 from an external source. You want the 633 to generate its own TC by setting it to 24hr Run. This will use the system clock to generate time code. The clock should be set for 24hr Time Format. Then all you have to do is make sure you have a cable wired correctly to send time code from the lemo output of the 633 to the 1/4 TS input of the TS3 slate.

That looks like an amazing solution. I am willing to give up a bit of low end in a car. Cars always sound a bit weird, and I doubt it'll be missed.

Would certainly breathe life back into the 788T if it were easy to get all the tracks onto one file. Suddenly the two 788Ts are a 16-track recorder!

Interesting - So if you are somehow able to change the track number on the 788T, then it can merge wav mono into a single poly with all tracks? It seems unlikely there is a way to change 1 to 9, 2 to 10, and so forth.

But if it were 2x linked 788T with the same start/stop time, could it be done?

Kyle, I'd be happy to meet!! Send me a note - nolooping@gmail.com If I can make a recommendation... Move with a job. Somehow get one of your clients to either recommend you for a long job here, or come out with one of the Austin producers, or anything like that. From personal experience, starting over in a new market is truly like starting over entirely. Best, Robert

I apressiate that video. This one coincidentally starts with my favorite whiskey, so I am not alone!!

So... A few drops of water? Splash of water? What? Science sucks. I'll stick with the dark ages!

Anyone in Los Angeles do this modification??

Is this a narrative job? How important is the barking? Will it matter if it's compressed and limited by transmitters and/or mixer/recorder? I would treat it like gunfire and just get the dialog. If they need the barking, you can record it as it's own track on another mic, set up just for the extra loud barks. I know now this doesn't answer your question. Sorry. Perhaps rent a Zax unit and test it with a dog barking.