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tourtelot

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Everything posted by tourtelot

  1. For music, this makes some sense. I don't normally worry about it if, let's say, the main pair and the flankers are a few feet apart front to back. But "verb" pairs or soloist pairs in far distant parts of the recording space do get treated. There's a Pro Tools Plugin to do this automatically but it's a bit fiddly. I just use an old pair of clap-stix I had around and clap them under the main pair. The "snap" shows up prominently in all the tracks and makes it super-easy to align by eye. A producer friend of mine turned me on to that trick D.
  2. It took me the longest time to discover what the cause of the audible beating that I heard in lav'd actors; this is in the 1980s, way back when. We were shooting this scene where the actor stepped out from behind a glass office partition and then moved back behind the glass a couple of times. The interference would come and go as he stepped each way. From then on, I knew what that sound was and had many, many conversations, calm to, well, not so calm, about turning the Panatape off or at least down. Sometimes it got fixed and sometimes it didn't but at least I had something to write down in my log. Often a nightmare. Oh, and trying to convince an operator that putting an optical flat in front of the lens of an MOS camera would reduce the noise. Those were the days D.
  3. Three months to turn it around is a long time to be without a mic. I send mine back two or so at a time for preventative maintenance, but it's one reason that I am more likely to use a Sennheiser (Connecticut) or even a DPA (2-weeks to Denmark and back). That's a long time. Not much of a choice, alas. D.
  4. And FWIW, many devices will start to lose headroom when the voltage drops below the "running" voltage. That means that they will appear to work but will be much more susceptible to overload and distortion due to not enough power. D.
  5. I wouldn't remember it if it is. That's a long time, and many recording days, ago. D.
  6. San Disk for me in my 788T and I don't believe I have EVER had an issue relating to cards. D.
  7. I used 21 and 22 for years in PDX without any problems. That was a while back, so I don't know these days. Sorry. D.
  8. But. . . . Better gear will (may?) make your work days less stressful, so if you have the money. As I like to say, the most bombproof purchases are always microphones. The lose their value slowly. FWIW. D.
  9. Nagra III (bought from a NYC camera rental house. Can't remember the name of it) Outboard xtal sync box. And a Sennheiser 415. DT48s. Used it on my first spot for, wait for it, Crazy Eddie's. "He's Insane." D.
  10. Guess we'd have to go back to one camera then. No more GoPros.
  11. I bought a pair of the Chinese walkies, not because I use them all that much, but just to see what I get for $15 each Can someone provide a couple of production walkie frequencies that I can program in when I get them just so as not to be one of those guys with the business radios on the set? I look at Google but didn't really find what I was looking for. D.
  12. Hi- I signed up to beta the new app but I can't open it without an activation code. iLok is current and plugged in. Advice? Thanks. Doug
  13. I use one of mine to play movie DVDs into my mac mini, whose DVD drive gave up the ghost years ago. Works fine. Haha. D.
  14. Yeah, I worked with Pitka. Once! Some wine spot. He yelled at me, I yelled back. Finished the day and never lead eyes on the man again. Good riddance. D.
  15. Excellent technique Tom! Now you KNOW the producer won't be bothering you for the rest of the day. D.
  16. I just deleted a lengthy diatribe, but can sum it up with only my naked advice. Buy the Sound Devices box. You will be happy. D.
  17. I "soft assemble" the connector and stick the point of a silver Sharpie pin through the set screw hole to mark the position of the brass crimp. Make certain to take care to keep the finished crimp as round as possible so it fits into the shell. The brass is very malleable and mistakes can be corrected with the gentle use of gas pliers; regular old "get them at the 7-11" pliers. D.
  18. Yep. 50 is a great mic but the reach and sound of the Sanken kills it outdoors. Oh, and they almost never came out f the zeps except for one time on a big stage where it worked way better than radios. There you go. No rules anyway, right? D.
  19. I always considered the MKH50 an interior mic. I guess if you have no "exterior" mics, you might need a blimp but . . . I used them in a Rycote Lyre suspension and if I needed anything more than the Sennheiser foam pop screen, I used a Rycote softie. Seemed to work well when I needed the 50 out doors (rarely). Way cheaper than either a Ball Gag or a blimp. The 50 isn't particularly sensitive to handling noise so no need, IMHO, for a super suspension. The Lyres worked every day for years with no problems. Still have them for my 20s, 40s and 30s even though I sold my 50s a while back. No more breakfast burritos for me thanks! D.
  20. KISS is the key for a location rig. It will break down, even the simplest rig, and thew last thing you want in a work day is the 1st AD pacing around behind your cart asking how long you think it will be before you are ready to roll. . . over and over again. The "big boys" who run complicated carts have backups for everything including spare mixers and recorders, cart power supplies, looms, RF receiver racks, redundant cables of every type, and "fix-a-flat" for their cart tires. They fill up whole 24' trailers with their stuff. If anything breaks, they just send the utility to the trailer for the replacement and to box up the broken piece to FedEx to the shop for repair. They can't be down for a minute. For most of us, the most bomb-proof the better. D.
  21. I was on an NFL sideline one time. I WAS a rookie! All I heard about pre-game was watch out for the Chapman crane. No shit! That thing flies up and down the sideline and nobody with it gives a f**k whether someone is in its way or not. Lucky for me I was never run over. Tough job out there and while I went "whoaaaa" when I saw the clip, the hit on Bernie was real. Glad to hear you are okay, more or less. Keep doing that great work. I love the sound on NFL and it keeps getting better every year. BTW, in the "good old days,": when I was an A1 in NYC, we did the biggest pro events with half a dozen EFX mics. How many nowadays, including wiring up the players? More than six I'd guess. D.
  22. Multiple theaters in the zipcode running many more channels that that PER-THEATER. It's actually quite remarkable. In the good old days, I lived in that zip code 10036. D.
  23. Just a perception. You say "tomato." I say "cucumber." D.
  24. Real Switchcraft at Allied Electronics. I think they have a warehouse in Dallas. I agree that the Reans seem flimsy. D.
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