tourtelot

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.

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.

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.

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.

Why does anyone who is not filming for live broadcast decide on using drop-frame time-code? That was a no-no even "back in my day". D.

Can't you use PayPal and don't they offer "buyer protection" as a basic part of their sale plan? D.

So much to choose from, so little time. D.

Wow, that's kinda like doing it for a hobby right? Production should never get anything for free and those who are giving it away are s***ing in the communal bed. But you are right about it being a discussion forever. And, some things never change. D.

Funny that in 1999, my friend and I were discussing ideas that would make DAT (RIP) obsolete. We had ideas, did we ever. Ended up with a Fostex DV824 (remember those?) that served it's purpose well. Now, it's JoeCo recorders. Life goes on, ob-la-di. D. And for what it's worth, my HHB DAT never disappointed me in all the years, and many shows, that we did together. Just sayin'.

I mix location classical music on them. I don't spend days on end in a studio so my view is limited. But the KH80s sound, to me, very honest and they have built-in room correction software that is important in small (mostly) untreated rooms like the ones I mix in. If you are mixing "for a living" with the KH80s, it would be a good idea, maybe vital, to also have the Neumann KH750 subwoofer. D.

I like the little Neumann KH80s for my small studio. I find that they translate well to my home hi-fi playback rig. D.

This from the Schoeps site: We strive to repair any and all Schoeps products regardless of their age. Our products are very durable, and we can repair most products even if they are far more than 20 years old. But at some point, even we eventually run out of replacement parts. Thus we can no longer offer service in general for tube microphones (except the M 222), MK 6 capsules, CMTS stereo microphones, the VMS 02/52, or any other microphones older than the Colette Series (ca. 1973). This includes all CMT versions as well as the Strässer CM 640 models. For safety reasons, power supplies for these microphone series will no longer be repaired, either. Any other models may be sent to us at any time. There are some threads on GS that talk about, maybe, others who might be able to repair the Mk6 but even those threads are quite old in themselves. D.

I believe that you will find that most (many) Mk6 capsules are stuck in one pattern and that Schoeps does not repair these any more. That being said, if the one for sale still functions, and is priced right, it might work for you. Remember, of course, that it is a side-address capsule, just like the Mk8. D.

What are you recording? If you are recording M/S ambience for film, I think the 308 would be a great choice. Much lighter weight than the MKH30 on the end of a pole. If you are recording/also recording music, go for the MKH pair. Save for two Schoeps Mk8, I don't have any other figure-of-eight mics but a pair of MKH80s which don't "M/S" very well being side address. If I need a matched pair for M/S, Schoeps works fine. Remember though that I am only recording music these days and M/S is not my preferred method for doing that. So it's rare I pull out a figure-of eight; maybe occasionally a Tony Faulkner array with two Schoeps Mk8 about 8" apart on a bar pointing straight forward if I need some "reach" to an ensemble. Sorta sorry I sold the MKH30 though. Lovely mics. D.

So sorry for the loss of Larry Scharf. He was a well known industry figure during my time in NYC. D.

I can't imagine multicast flooding on a 5-port switch, but I could be wrong. Early in my Dante journey, I ask Brett THE TECH GUY at Audinate about whether I should use this setting and that setting and IGMP and QOS and all that stuff. He chuckled and said, "Just plug in your devices and go to work." (or words to that effect). I have found that to be (mostly) true even on my large closed Dante network. I have some thoughts on what I might need to do if I am ever asked to join a second large network; think a live recording in a PAC that has a Dante reinforcement rig that is also on the house network, ticket sales, accounting, office telephones, etc. But the truth is, I will probably never find myself in such a situation. D. EDIT: Just saw that you were talking about a 48-port switch. I do have IGMP set up on my switches but I am running more than 20 devices, some with huge multicast outputs on multiple VLANs.

John Eargle's The Microphone Book (Focal Press) is regarded by some as the definitive work on microphones. You won't find a lot of pages devoted to location sound for picture but it is an in-depth work. D. Tom, beat me to it by three seconds. :):)

As you probably know, 100m (330') is the maximum recommended cable length between Dante devices. If you plug one of those little switches mid-line, you can double the allowable distance to 200m. Have I ever needed to be 200m away in any of my setups? Nope. But it's a good thing to know just in case. If I needed to be really, REALLY far away, I'd use fiber which allows, with the correct adapters, a more than 10km distance. Even run-of-the-mill fiber with adapters into my Cisco switches will allow a few thousand feet and I can not imagine needing any longer runs, ever. At least for the work I do. D.

There are Nagra EXPERTS on this site that will be along any moment. I think that if you put a serial number in a reply, you will get a direct answer. D.

It's just me but I think that $250 for each addition channel would seem a bit steep. But SD has always been a good value and like Constantine says, if you already have an 888, and need more tracks? What? Sell it and but a different machine? So maybe more folks than I think will go for it. There is always, in my case, a manufacturer (nameless) that wants to charge me $500 for two LED meter boards because the original boards were defect. Now that irked me. D.

Just sold mine. Never used it. Now I need one for a week in January for a project. If you have one you are not using, let me know a rental rate please. D.

And, quite frankly, why I don't work in the motion picture business any longer. Sad to say. D.

Not me. More like Cinematographer vs. Camera Operator. And I am old enough to remember when a PSM actually mixed the track that was (mostly) used in the movie. D.

Such a nice man. And a pros' pro. D.

David Hewitt, of Record Plant Remote NYC, has a new book out full of war stories from the road in the day. I worked on those trucks, so it's personal for me, but the stories are great for anyone in the audio recording business. https://www.amazon.com/Road-Recording-Stars-Golden-Music/dp/1493056174/ref=sr_1_1?keywords=david+hewitt&qid=1637348995&qsid=137-3353868-0814509&sr=8-1&sres=1493056174%2CB000008GJH%2CB07VKJNCX3%2CB07KCFXP9M%2C1439806519%2C1800763727%2C0951764519%2C1621904830%2CB083ZLK9PL%2C1838276963%2C0205634370%2C0767916131%2C0070046999%2C0312446926%2CB07HQ7LK14%2C1539727505&srpt=ABIS_BOOK D.