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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. There might be some things for you here: https://www.ebay.com/sch/i.html?_from=R40&_trksid=p2380057.m570.l1313&_nkw=nagra+iii&_sacat=0 D.
  2. What's the difference between a flare and a highlight? A thousand extra dollars a day. D.
  3. Also, remember that for me, most of my "Production Sound" gear was sold years ago and that I mostly have "Recording Studio" gear nowadays. Albeit gear that is used on location. So in that regard, Reverb is a pretty good place for me to sell. If I had newish and top-shelf production sound gear, I would certainly consider the NY and LA production sound houses. Finally, I am considering a "lend/lease" deal for a package with a young man who I know coming up in the location classical music recording biz. So sort of rent-to-own with a really nice curve to the deal. I am not certain that he is ready to own and deal with a lot of gear but the discussion is on-going. D. PS. Anyone looking for a nice Crest monitor panel. Used on a couple of scoring sessions.
  4. I have actually sold two entire packages (not mine) and I am getting ready to sell a third, mine. I have found a few things. Nobody wants "your" (or "mine" or "their's") rig. Our work is built on and encourages customization and I find that no two of us do it the same way. Therefore, I have found that it all needs to be gotten rid of a piece at a time as daunting as that seems, and is. So here's how it has worked for me. The good, expensive stuff, especially microphones, will sell fast and at the highest possible price. That isn't to say that you'll get what you paid, but if you bought good (the best) microphones and you bought them used, you'll get what you paid, in most cases. For rare, clean and vintage mics, you may even get a tiny bit more. Cheap mics sell for nothing. People buy them new, cheap. Digital gear, like recorders, preamps, interfaces. mixing panels, you'll take a significant hit; the older the gear, the more of a hit you'll take. Cases, racks, IFBs, and cables? I say get what you can, but be prepared to have no one interested in the 15,000 feet of XLR cable that you (I) have collected over 40+ years. Your Magliner cart, yes. Your 35 year old Location Sound cart, not so much. Old wireless, yes but not for much even though you and I know that they perform perfectly. Our gear is sometimes a show-and-tell to clients whether we think that is okay or not. Sell a time-code slate. Maybe not. A Lectro 400? Nope. Well, you can sell it, but you won't be happy with what you get. All the bits and pieces; magic arms, clamps, Comtek phones, suspensions and zeppelins, booms. Yep, for a little something. Paid $3000 for that 788T 30 years ago? Maybe 1200. But it still works great, right? It's the one piece of gear that I would never sell. It and two or three pair of mics go with me into my retirement after 70 years walking the planet. My dear friend Dwight reminds me, "A seller makes a sale when he and the buyer agree on a price." That and remember to factor in all the use you have gotten over the years and the rentals that the stuff has put in your bank account. The stuff you bought last year for big bucks that you manage to sell for a pittance (or not sell at all), oh well. Where to sell? I sell across a lot of platforms. The obvious ones like eBay. But there is Etsy for "vintage" stuff. Craigslist if you rather deal with freaks in place of fees? Sure, but take care not to expose your stash to someone who comes by a week later and breaks into your garage. GearSpace forum has a nice classified section with no fees. You need to register and it's mostly recording studio stuff but it is worth a look. Reverb is a place that would be worth a look as well. I have had good success there. Again, production sound stuff is not its primary market but I have sold stuff there. JWSound's WTB/WTS forum is an awesome site with an obviously production sound viewership. The LA and NYC (Florida, Atlanta, etc) movie sound gear vendors (Trew, Gotham, Location Sound, etc) will take consignments and again, get seen by location sound people. Consignment fees are high and you might need to actually have your stuff in their showroom to be eligible. After a really not fun or easy process, you will find some (most) of your stuff gone, and hopefully have seen some income and a freeing up of space in your home (as important as the dollars earned in my case), but you will still have bins and boxes, and bags and cases full of stuff that it is obvious that no one wants at any price. Donations to local film schools, community colleges, friends who are just starting out, or for free on CL and JWSound are always a nice and freeing way to get rid of stuff and get some well deserved joy in return. Helping out those up and coming is a great way to pay karma forward, and I have been known to give away stuff that was quite valuable just to save myself from the aggravation of putting it on the market, especially stuff that I have "gotten my moneys' worth" out of. Good luck, head down and drive on. It will take a while and it will be a time and emotion challenge but you'll get through it and after all is said and done, it will all be okay. D.
  5. FWIW, I have fit 1/8w resistor attenuators inside a Switchcraft mini-TRS. Not fun but possible. The Uneeda pages were posted by my good friend Rick Chinn; a brilliant engineer and designer of many Mackie mixing desks. Cool guy. D.
  6. "You know Doug? They just don't make movies like they used to." Jim Webb on the set of Boys On The Side, 1995. D.
  7. Yes, at least the last time I bought a card. Maybe less than a year ago. https://www.trewaudio.com/product/sound-devices-sam-32cf/ There was something weird with formatting of some CF cards in my 788T IIRC, and I needed to send them back for some other, maybe older, SD CF cards. Sorry I can't remember the specifics of the issue but it happened with two cards from different vendors. Calling Sound Devices gave me the info I needed to get the correct cards. So check that part out. I have four and I will probably never need to buy another one. D. And well, I guess that negates my "never failed" statement. The ones that formatted have never failed. The
  8. I use the Sound Devices branded cards. They are expensive but I have NEVER had an issue with them. D.
  9. First off, production "freak-out" is not your problem. Secondly, a ten minute sound delay is, what, ten minutes? Tough for them. How long did the gaffer take to light? And third, I am guessing (and I could, maybe, be wrong), that Lectro unit did not change by itself. Productions in "freak-out mode" is stressful but every department has the right to the time to do their job correctly. Just remind the AD that having him looking over your shoulder will only make the trouble-shooting take longer; maybe a lot longer and he should walk away. You'll let him know when your department is ready to roll. D.
  10. My pet-peeve was always dialog in those loud ambient scenes; loud bars, intense sporting events and rock shows come to mind. "Extras, don't make a peep. Just look like you're yelling, talking loud, laughing 'til the cows come home." You know, pretend to be loud. Now principals, have your dialog. No, you can't talk in normal on-set levels. It'll never mix with the SFX and sound right. Oh, you just can't talk like you are in a loud bar? That's "acting" numbnuts. Please try again and do it better! D.
  11. Haha. I guess I'm not anyone's guy at this point. I just said no to a favorite producer on a great show for a long second unit. I texted back "Thanks for you kind offer. No thanks. I'm an old fart." Doug T, Retired.
  12. Oh, Larry. I don't think I ever saw that one. D.
  13. I have those cables. 'Cept I used Switchcraft RCAs. They cost me about $12 a pair all-in. D.
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