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tourtelot

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Everything posted by tourtelot

  1. I did that once with three glass lamps over a cocktail bar set. No one was amused. :):) D.
  2. Read the OP's first post. He has a limited budget and he's not building Abbey Road II. So for $1.6k, hell yes. D. PS. FWIW, I have 24 channels of Grace and a JoeCo on a pretty big Dante AoIP network so I know what can be done with more money.
  3. I record music on my 788T all the time. Good music, well-played music, symphony orchestras, church choirs, early music folks. Some end up on CDs, some Grammy noms. I have NEVER had a client (or anyone else) say that my recordings weren't "musical". Bologna! The 788T preamps are just fine for recording music, never fear. $1400-1600 will get you what you want. D.
  4. Still nothing bad to say about the preamps in a 788T. I have 24 inputs of Grace m108, among the top acoustic preamps out there, that I use for multitrack recording. I used to take 8 channels of Grace out on the "high-end jobs, AES into the 788T as a bit bucket. On close listening, in the studio, on good monitors, I could not tell any noticeable difference between the 788T pres and the Grace in any of the locations I record in. I decided to forego the extra weight and only travel the 788T. The CL12 fader package gives me all the mixer, routing, pans, limiters and a simple EQ that I would ever need for capture. Way less expensive used than many of your other choices. As far as reliability, never had the 788T fail in, probably, 15 years. Can not say the same thing about recording to a DAW. I put an SSD in it myself; easy-peasy. Shameless plug, but one of the m108s with a Dante card is for sale if anyone is looking. D.
  5. A used Sound Devices 788T (or even a SD 744) would be all you need to record music. I AM a professional music recordist and for anything under eight tracks, I still use, and am still awe-struck by the quality of, acoustic music recorded on my 788T. D.
  6. Leave it to Nagra to use an (albeit smokin') electric typewrite in their literature for their oh-so-cool new SN. I won't be among those who might purchase it (my SD 788T still works great), but I can't argue the drip. D.
  7. This! 25-footers for me with no problem I could see or measure. I use 110ohm because it's "correct", but that's just me. D.
  8. First the writers, then SAG, now the Cicadas. D.
  9. I don't remember when I bought my 788T (at least 11 years ago? I think I bought mine in 2008) but can honestly say I have never had issues with the firmware on that machine. Ever. So what was the "buggy" firmware issues with the 788T? maybe with stuff like keyboards that I never used, so I am not saying it never happened. Sincerely curious. D.
  10. You may have incorperated these in your cable but I believe there needs to be some resistors in line with the "hot" from the Cooper. Please correct me, anyone, if this is wrong. https://www.bhphotovideo.com/c/product/1693501-REG/remote_audio_nagsir_2_rcas_to_7_pin_tuchel.html/overview D. Just found this from Nagra: "Yes, on a IV-S, the input cable must be equipped with a resistor 56 kΩ in series. These inputs are "current inputs." For information, the reference of the original NAGRA cable is QCSE. Regards, F. Guerra"
  11. Sorry to hear this news. John was a friend to the production sound community, no doubt. D.
  12. Just for the record, I meant the Sela. The 4.2 got turned for a lot of years with a PSC M4 mixer. D.
  13. Never got a chance to turn the knobs on one of these, but . . . . D.
  14. Pretty passionate argument for scrapping a tried and true syncing method for one that wouldn't seem to work as well. Hmm, backstory here? D.
  15. What keep the devices running exactly at the same rate after the time-stamp? Each device will have a time-based drift. At the end of a certain amount of time, each device will have drifted a slightly different rate. That is why there was a whole thread on gen lock. That IS a method of time sync over a long period of time. No starting time stamp will work. Am I missing something? D. By the way, any pro knows that TC drifts as well.
  16. "I charge an Iowa producer the same as I charge an LA producer." I am not sure that I was understood. I am not questioning what you charge but saying that producers from different areas are used to, and willing to, pay more for the same work. That is to say, an LA producer might happily pay $1800/day for sound because that is what he typically pays. The local producer in the midwest does not pay that rate typically and probably won't. That's all. And yes Johnny. The reason that LA/NYC producers are willing to pay more is because, of course, COL is way higher in those towns. Crews need more money to live there, gas is more expensive, so are groceries. So no crew can work there without making a certain amount of money, and if they all moved to Iowa where they could live on less, there would be no crew in LA/NYC. Pretty simple. So my point was, maybe if you live in Iowa and charge LA producers what you charge local producers, you are leaving money on the table. Just my $.02 and probably a guess even then. D.
  17. Just a sincere question. Does it make sense that an (in-town) producer would pay less in Iowa (for everything) than an in-town producer in LA? I haven't billed-out in the motion picture industry in many years but I ALWAYS made more when I worked in LA or NYC than I ever did in Seattle. So I would guess it would always be good to know where home-base was for the hiring producer as that might give some indication of what they would consider "normal". Not to say that it wouldn't be nice to have a "national rate" but even IATSE soundmen get better rates in LA/NYC than elsewhere. $1800 for a 10-hour day with a simple package sounds pretty acceptable but it isn't much more than it was "back when" for me IIRC. I wish gasoline had only gone up that much. But maybe I wasn't so aware of billing for the extras since I mostly did long-form. For those jobs, a "kit was a kit" for the most part. I do remember some big Comtek rentals on some national spots, haha! D.
  18. I have hopes, maybe not realistic, that this strike will break the backs of the AMPTP. Will it allow truly independent producers who appreciate the folks who build their product, talent and crew, pay them fairly, treat them respectfully, be decent human beings? There are (I think) 200 or so movies being made where this is the case; allowed to shoot by both the WGA and SAG/AFTRA. Could this be the future where the working people can muse about billionaires losing their houses? I, for one, would be happy to see that happen and that the industry might ver back to being less of a gulag and a more enjoyable place to work. I don't miss working in the gulag for certain.
  19. "spending more money for writers and actors would seem from their perspective a non-starter. It could break some of them." Sucks to be a billionaire, right? D.
  20. Well, I certainly now realize how chauvinistic my original post was. Of course, I was relating this to the WGA and SAG/AFTRA labor strike in the USA. Does this affect anyone in, let's say, Germany, Greece or Sweden. D.
  21. Here is a Gigabit switch with POE. https://www.amazon.com/Industrial-1000Mbps-Ethernet-Capacity-Universal/dp/B0C9C7JG3H/?_encoding=UTF8&pd_rd_w=pEXwS&content-id=amzn1.sym.5f7e0a27-49c0-47d3-80b2-fd9271d863ca%3Aamzn1.symc.e5c80209-769f-4ade-a325-2eaec14b8e0e&pf_rd_p=5f7e0a27-49c0-47d3-80b2-fd9271d863ca&pf_rd_r=28AJZXVFHRNWD914A6P3&pd_rd_wg=VT0fe&pd_rd_r=f3504ebe-ae0b-4c6b-90b6-54fe35951c4c&ref_=pd_gw_ci_mcx_mr_hp_atf_m&th=1 Two questions that I could not find answers to is 1) is POE "auto detect and deliver" or always on, and, 2) is it able to have the "Green Ethernet" function disabled (Dante hates Green Ethernet). But the price point and 12VDC powering might make it worth further exploration. D.
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