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About tourtelot

  • Rank
    Hero Member
  • Birthday January 1

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  • Location
    Seattle, WA
  • About
    Ex-soundman for film, now recording music.
  • Interested in Sound for Picture

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  1. tourtelot

    HHB Dat

    FWIW, my HHB Porta-DAT treated me exceptionally well for many years. My close friends had PD4s. I was always glad I had the HHB> D.
  2. tourtelot


    Yes! The last time I had a similar issue, and it was cicadas and not crickets, I took wild lines and they used them. Good idea and a great reminder. This solution probably would have escaped me in my later years because I just was "trying as hard". D.
  3. tourtelot


    Yeah, maybe. I always said, if the camera can see 'em, they can be on the track. Do you see any crickets? D.
  4. As far as time code goes, I have not had any experience with other manufacturer's devices; maybe a day or so with an Ambient box. But does that really matter? Seems to me that if a person is satisfied with their choice, truly satisfied, there would be no need to date another girl/boy. Now I need to admit that I "got out" before the big push to miniaturization which might have temporarily skewed my choices until, maybe, Denecke caught up. I might have even had such a good experience with another brand that it would become my new "it". That's okay as well. I never said the others weren't great. Just that I was all good with the Denecke products and, while they worked effectively and reliably for me, my main loyalty to the brand was due to the fabulous folks I came to know at the company. BTW, hearing from my friends about the attitude of camera about insisting on smaller and smaller time code boxes, while feeling just fine about strapping the kitchen sink onto their iPhones strikes me as the height of idiocy. Probably just as well I'm retired because I think there is a good chance I'd tell 'em to feel free to clap their hands in front of the lens if they felt the need for a sync mark. F'ing prima donnas. D. PS. The GR1 is nowadays a great bang for the buck in a comprehensive box for the location music recording that I do. It's a very versatile box, although even in the day, there was no putting it on a camera.
  5. I have used Denecke products for many (many!) years. I recommend them for all the reasons mentioned above, but most of all for the people who work there. First was Mike and Kim, and now Kim and Charlie Para. Just the very best people you could ever hope to meet. They will work through their lunch (or even their sleep) to help you out, and this would be the same whether you had thousands of dollars worth of their gear in your kit. . .or none. As I spent more time in the business, I found that the best gear for me was that gear that had a personal relationship to back it up, which for me, always seemed to coincide with build quality and reliability. Years ago, Dan Dugan and Evan Mater for Nagras, Denecke for time code, Jerry Bruck/Posthorn for Schoeps, Schoeps in Germany, DPA all around, both Denmark and USA, Coffee Sound and Audio Services (now LSC). Now for me, Grace Designs, Cisco, Allen & Heath and Audinate have become professional friends and I have gotten the best customer service from all of them. The ones with bad customer service get churned out. Bye-bye. So +1 for Denecke all the way. D.
  6. Oh, I'm getting all teary-eyed. Early wireless mics, Sony BVH500 1" video recorders, and arc lamps. Next you'll be talking about Panavision Platinum cameras. God, I adored those cameras. Just the sexiest machines this side of a Porsche 356. I'm SO old. :):) D.
  7. OMG! I hated those BVH500s as well. What were the cassette recorders called? BV110 or something? Those and an Iki camera was about the best in the day. I took a BVH500 to Barbados once to do a show with then NY Mets player Keith Hernadez. The only really good thing about that trip was a Bajan woman I met there and we had a pretty good time in the evenings after we got done shooting. Well, that and I loved the guys I was working with. But carrying that damned recorder around the beach with its shitty shoulder strap and a 10' boom pole in my hands was no fun. Don't recall any wireless but if I had them, they would have been Microns. Fat 8-pin Lemos for lav connectors! Good idea, Jake. D.
  8. Yes! Safety pins! Excuse me while I fuss under your clothes EVEN MORE. D.
  9. Not a 54. Maybe some Japanese mic? Sony? Sanken? D.
  10. Jay. Just say "yes" for $1000/day. D.
  11. And now it seems, the RF world has again become a nightmare, certainly in the good ol' USA. Glad I don't own a single wireless mic these days. Got out just in the nick of time, and sorry for the expense and aggravation to all of you guys having to dodge the FCC bullets. God bless! D.
  12. Yep. You know? The picture you linked seems to be one of two or three on the whole WWW. I seem to remember that my four units were beige. I know the quad box was beige and it took, I think, ten D-cell batteries, maybe 12, to run it. They really sucked for reliability. "Not great" is a serious understatement. I used to have my boomman walk just out of frame on long dolly shots that tracked the actors in a wide shot. Ugh! 150' of four-pair snake to make the shot happen. And still dropouts. That quad box was heavy as well. When I used the Audio Ltd. dual receiver, just pre-Vega, it would work great through rehearsals. Not any problems. But as soon as the camera turned on, it would all go down the dumper. Like almost every time. I was doing this shot at the end of a cold all-nighter. Maybe the last shot. Sun was coming up. Cold as a mo-fo that night. The Audio receiver was about 7 feet from the actors, both on the Audio wires. Got through a rehearsal or two. Roll the camera, a Panavision Platinum IIRC (It shot 35mm film. Google it youngsters ) and so many drop outs. I went over to the apple box that the dual receiver was perched on. Calmly unplugged all the connections, and then hurled it at a nearby brick wall as hard as I could throw it. Then calmly went over, picked up the remains and told the boomman that we were on him for the rest of the show. It was a remembered performance around the NY scene for a few years. I bought the Vegas soon thereafter. D.
  13. Anything under 8 channels, I use my 788T. Sometimes still, outboard mic pres, even as the SD pres are pretty darned good. CD burner? Alas, yes still. We have trained our clients to expect a CD 2-mix after the performance ends and we can not break the habit no matter how we try. And yes, always a backup of some sort. Live recording after all and still on AC power. D.
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