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tourtelot

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Everything posted by tourtelot

  1. Assuming that both your new lavs are acting the same? And your adapters are genuine DPAs? Other than that, it's a weird problem. I hope the guys at DPA can fix you up. I jusy got a mic back today that had been damaged. Repair costs were reasonable and the service, even with a trip to Denmark, was extraordinary. D.
  2. How about the simplest 300 ohm dipole antenna that folks have been using on their FM tuners for years? I had one in the 70s, I have one now. https://www.amazon.com/AEDIKO-Antenna-300-ohm-Transformer-Receiver/dp/B097K3Y59N/ref=sr_1_13?crid=24J6YIK4DTNUD&keywords=Dipole+FM+antenna&qid=1689802932&sprefix=dipole+fm+antenna%2Caps%2C165&sr=8-13 D.
  3. You all know of course that this is a problem of Apple's own making. Actually fries my ass, the more than a few years old Apple design path. This is only one of the reasons that I continue to run my large Dante rig on a pair of 2012 MBPs. You know? The ones with all the proper ports right on the machine? Grrr! D.
  4. Just saw this ad in a "Hi-Fi" magazine. https://elusivedisc.com/nagra-70th-year-anniversary-collection-album-200g-45rpm-2lp No sync head. When was the last time I needed a sync head? :):) FWIW. D.
  5. Ah, good start. I think it might be a model 63. https://reverb.com/item/42216401-vega-pro-model-63-vintage-diversity-receiver-handheld-vocal-microphone-1196-good-working-cond D.
  6. Resurrecting a very old thread but looking to ID the RF that MJ is using in this photo. Any answers? D.
  7. I used to love "left-behind" Commies. I'd bill them out at double the replacement costs and take my crew to dinner on the proceeds. D.
  8. "Big wheels first!" One of my first lesson as a SUT from an early mentor. And yes, it happened to an early cart of mine; I was not driving. You know what happens when your cart goes over, right? Nagra Falls. Then I built up the last cart of my career, horizontal and steel. It caused other issues to be sure but it was never gonna fall over. D,
  9. I'm an old fart. I absolutely hate lead-free solder. There. I said it. D.
  10. I am probably gonna get flamed for this but, here goes. Someone is asking you to do a job for money. Someone wants to pay for your skills. It is, to me, as simple as that. Not that I wouldn't say "no" to some jobs, and do for a variety of reasons. But the guy who you hire to paint your house doesn't ask and makes no judgement on anything other than "Does the house need painting? Can I do the job for the money offered?" Maybe it is that simple. Oh and as to "bad guys", Scientology can't be as nasty as some movie producers who I have worked for. :):) D.
  11. Has anyone added a Lemo (or other) connector in-line on a Schoeps BLM03? Thoughts? D.
  12. Okay, location classical music recording is a whole 'nother "thing". It is all I do any more. I tend to be a "minimal mic guy" which means most of the music I record is captured on 2-4 really good mics. Not BLMs, not lavs, not clip-ons. First tier mics placed in the proper position. Full orchestra, small ensembles, choruses and choirs, opera. I almost always use a stand and rarely brook any discussion about where that stand will go. There are some talks with video from time to time but once it is explained to the director of the group that there is a reason for the stand to be where it goes, I almost always get "my way". Flying mic pairs overhead is alway a good choice if you, the audio engineer, has the time and the facility to do it. I do it in a few halls to good effect. However, it takes longer and, thus, costs more. A lot of my jobs are load-in at 5:30 for a 7:30 performance, out by 10. A stand is the only practical way to get my mics in the correct place. Most of my clients know this and have no issues. Because of live-streaming that came about during the pandemic, there is more video on these jobs than in years past and sometimes, there is nothing that will satisfy the client other than multi-mic'ing. Almost never sounds as good but the stage "looks" cleaner. And I make money on set up time and mic rentals. But I like the sound of fewer mics. I have done a few jobs recently where I have "flown" the main pair on an 18' boom mounted on a heavy-duty stand. Most on this forum will know what I mean. I will put up "collette-style" heads to keep the weight down but it opens up the front of the stage for sight lines. This works great on small ensembles but remember, the group needs to fit on a 28' wide "stage" and also that the stand will always be in someone's eye-line unless it come over from the rear of the ensemble. So this doesn't work for large groups; orchestras and such. None of the above applies to a recording "session" for release. The last one of those I did was a 30-member choir and we used 27 microphone. Entirely different work and no sight line to worry about. To the OP. Maybe collette heads on a light-weight mount (stereo 3-D printed?) on mono tied to the top speaker brackets on either side. You'll need to make certain that the stress won't pull the speakers off the wall and go with the lightest rig you can put together, mics suspensions and cable). If all you can fly are lavs, no matter which ones, I'd stick with the center stand and better mics. Using two stands with a pair hung on (mono or wire rope) in the center will pull the stands over right away, even with a bunch of sand at the bottom. Maybe super heavy steel stands might withstand but I'd be wary. Never a good idea to have a rig fall on musos or audience. If you work in this particular hall all the time, maybe talk to the powers that be about adding some good anchors and eye-bolts to the walls that you can use to fly a rig. It'll be invisible with nothing attached, you can put it right where you need, and it'll be really strong. Any way to drop mics in from the ceiling; lighting trough downstage or can lights you can fish a cable through to hold a mic? Then move them into position with mono and push pins. Again, how much money and time do they want to spend. D.
  13. Yes! Ferco harness. Ed Novick just messaged me five minutes ago with the same information. Thanks. D.
  14. What was the name of that first simple chest harness strap? Can't for the life of me remember, but it was well known in those days. Jeff? I bet you remember. D.
  15. Oh yes. A Nagra IV-S is very heavy. I can recall being so thrilled in the 80s when some smart person came up with a chest harness for my Nagra. Documentary jobs, with the Nagra slung over one shoulder on the narrow strap were, to coin a phrase, a pain in the neck. A big pain. I forget now what that first harness was called, but it was made of simple 1.5" (?) cotton webbing, unlike the nicely padded ones that have come in later generations. It was a God-send! D.
  16. https://idmystuff.com/ Simple plastic labels if you just want to tell your stuff apart from someone else's. These are not "security tags" (no use for those myself) but come on sheets of a bunch of different sizes for not much money. I use them on everything. D.
  17. https://www.lectrosonics.com/press-releases/introducing-lectrosonics-lunalink-tm-the-first-wireless-microphone-system-for-moon-based-audio-transmission.html D.
  18. Yeah, but it makes a messy desktop, at least in my view. I know, but it's just the way I am. D.
  19. Yes, perhaps it was CF write speeds. D.
  20. Why have I, for close to 20 years, had my Sound Devices 788T set to Poly .Wav? I record acoustic music on my 788T now exclusively, and while Pro Tools doesn't have any problems importing a Poly .Wav file onto separate tracks, my DAW of choice, Reaper, needs to have the Poly files split by (still going strong) Wave Agent. Not a big deal but an extra step. So why was I alway solidly against printing Mono .Wav files on my 788T? Re-set the 788T to Mono .Wav files for the next job. Can't see why not. Why not? Getting old. CRS. Can't remember shit! D.
  21. I solder most everything, including lacquer covered wire at 750F. As I said above, if I'm doing a slew of XLRs or the like, I'll turn up to 850F. Do remember that I am using lead solder and it behaves very differently the non-lead. I kinda hate non-lead solder. So even if I am soldering XLRs, if I am not making a morning of it, I don't bother to move the iron off 750F. Long, long habit; I was taught to solder in the mid-70s by Paul Prestopino, long-time chief maintenance guy at Record Plant NYC. That wasn't all he taught me . . . . I know, I'm old. D.
  22. Sorry Mr. D. The "burn the insulation off with solder" works just fine in my experience. Been doing it that way for a LONG time and can not ever attribute a failure to the method. YMMV. D.
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