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About tourtelot

  • 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. Just this from an old skool PSM. They need to know that they can not learn the craft in a classroom, no matter the experience of the teacher, the books, the YouTubes. They need to know that it is important that they learn how to search out a qualified mentor and spend as much time on an actual set as they can. There are things from the work environment that just can not be taught but need to be experienced and muscle memorized. There is NO shortcut to this and neglected, means the student will need to "reinvent the wheel" every time they go out. This vital part of the learning just doesn't happen these days and it sends hundreds (thousands?) of unprepared students into the world with the belief that they can "do the job." Just my $.02. That and $4.98 might buy you a gallon of gas if you are lucky. D.
  2. Way OT but what is your (and anyone else's) experience with B7000 glue. I am always looking for the better of two things; solvents and glue. Thanks. D.
  3. I think the gear that I have that is most likely to go off meekly into the dark would be my Allen & Heath SQ6 panel. You know? I love that panel, really love it. It does everything that I need it to do with grace and ease. There are occasional firmware updates that keep it on the path. I bought it three years ago and use it from time to time. So now we are creeping up on that 5-year window and it is still in the current A&H catalog. But for how long? And what time frame would satisfy my wish for something to serve out its value? And how long will A&H support it, in some meaningful way, once it isn't a current product any longer? So, who knows? We pays our money and we takes our choice. Did I buy this expecting great resale? Of course not. Will I be satisfied that I got a value for my money? Time will tell. D.
  4. Gearslutz tax? No! I am guessing at that price, it has been completely restored and works perfectly. Even old Maseraties need maintenance to run in top form. But a restored old Maserati is still a top tier car and deserves to be priced as such. If you have any M50s that you'd like to let go for $5000, I'll take all you have. BTW, anyone want to buy my restored 1976 MGB? D.
  5. You should have told him that your backup recorder was a wire recorder. A-hole! And no, classic mics from top tier dealers do not "degrade over time". Neumann M50s are still selling for just shy of $30k each IF you can find them for sale. D.
  6. If you are looking for an "investment" is sound recording gear, I think only top-tier microphones fit that bill now days. Anything else I might buy into would be for my personal convenience and I have no expectations of that gear's lifespan. I do tend to move on fairly quickly which has saved me from taking big resale hits as a rule, but I have moved on from some companies that had quick EOL even as the gear was still working fine. So I look for manufacturers that show good support and then buy their innovations. Seems to have mostly worked with a few ugly exceptions. But I have a 788T that still gets used more than any other piece of equipment I own; I have vowed to never sell it. Even in deep retirement, the 788T and a couple of mics will allow me to do 90% of the recording I currently do. Maybe get greedy and keep four mics. Hard to say that about anything else in my kit. I don't usually use the preamps now; the 788T is a bit-bucket for a Grace m108 preamp. But would the built in preamps in the 788T serve me well? Of course. All the digital stuff? Buy it, use it for as long as you can, upgrade to some other digital stuff. It is just the way of the world in 2022. (typing this on one of three 2012 MacBook Pros) D.
  7. Wow! No solutions but that really does suck. (sad face) D.
  8. We used to have a sacrificial foam screen that we cut a slot in with a razor blade so that the lyre clip could slip inside and grab the mic. It would mean buying said sacrifice but it totally works. D.
  9. I lost rack of Frank many years ago but you might reach out to IA Local 52 in New York City. He is probably retired now but they might well still have contact information. 718-906-9440 D.
  10. Perhaps distributors don't use customer service emails to do their business? D.
  11. Ira- Scott's mount are very nice and I have four or five if you'd ever like to test them out. Let me know. And you might find NOLA's whereabouts on the Taperssection site: https://taperssection.com/index.php D.
  12. Yes, portable recorders made a huge difference. I think the device that made even more of a twist in the recording of dialog for motion pictures was the wireless mic pack. I lived through that change, and don't ask me how I feel about Vegas and early Audio Ltd RF rigs if I have been drinking. The introduction of these game changers was unique to the whole presentation of cinema dialog. Don't ask me for better or worse. You might not like my answer. D.
  13. Ah, good story. I was just telling my wife, as we were listening to The Doors/LA Woman that it would have been so cool to live in LA at that time in history. And I wouldn't have even realized how cool. But I would have known that it was. I lived in NYC in the late 70s through the early 90s, two blocks from Times Square and I KNEW it was cool. A bit scary, but definitely cool. D.
  14. Does the "sleeve" connection make it to ground back at the camera? VOM to check. My first thought is a dropped shield. Just spitballin' here. D.
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