tourtelot

One of them HAS TO work. Right? D.

Awesome! I'm in. Do I need to send my 788T to ProSound for the mod? D.

And to be able to fly without the loud mouth next to you bellowing at his girlfriend for the whole trip. D.

Just bought two pounds of the Kester 44. Someday, sooner than later, the folks who "watch out for me" will not allow it to be sold. D.

Ebay seller with only 1 transaction and doesn't list these as if he has any idea what he has. For the record, this is not casting aspersions on the seller. He fired these numbers right back to me within minutes, but. . . . Hi. Serial #s of all four pieces are as follows... amp #10444 has capsule #61577. amp #10445 has capsule #61578. If these match up with something you are missing, PM me. D.

x2 for Eric. D.

Yep. Sorry. Confused. Sill need an XLR to DSub25 tho. D.

Seems like an extra piece of kit to hook the 788T up to a Lynx Aurora. If you want to be fancy, use 110 ohm cable between the TA3 AES out on the 788T and a DSub 25 into to the Lynx. If not, make one with mic cable. The run would be pretty short. Lynx only in on a DSub 25 so a custom cable is needed. D,

Why? Should just be plug and play. AES out of the SD into AES in on the Lynx. AES is 110 ohm at both ends. D.

Don't feed those stupid cameras! D.

To be a little more helpful, it is a city in Arizona, a state in the southwest United States. D.

I totally get that. I wasn't saying it was a bad deal; just that it may be expensive for those who live in some other pert of the world (like Seattle, WA) and don't get enough L695 work. It is a great, and hard working local and well worth joining. D.

Also know that IATSE Local #695 takes dues every quarter whether you are working or not. They do not do a "work dues" business model like most other locals do. This will get very expensive if you are not living and working in LA. Some of us choose to hold the card even though we don't live in LA, some mostly because, after all, it is the sound local. D.

Or the best way ever. The old New York commercial slating convention; incremental numbers starting at one and going up to whatever it ends up at the end of the day. Doesn't work so well for dramatic but it sure was easy. D. Oh, and sometimes, takes into the hundreds and hundreds

And a 12 volt hair dryer. D.

Oh and my other $.02. An ORTF pair sounds way better to me than an XY pair. Same mics, just as easy to mount. In fact, I think XY pairs sound, well how do I put this politely?, not so good. D.

Oh, and if you want to see a lot of mics on an orchestra, drop by a scoring session. That last one I visited had almost 200 mic inputs! Wow. D.

You certainly do not need "many mics" to record orchestra, choirs, ensembles, opera, or anything that is (primarily) acoustic. This work has become my day job and it's mostly that I get, or at least my clients think so, stellar sound with a main pair. That pair comes in many styles; spaced omnis, ORTF, MS and Blumlein figure of eights. I occasionally use spot mics but extra mics more often come as omni flanker outboard of a main pair for very wide groups; large symphonies, wide choirs, etc. Sometimes a featured soloist needs a spot but it mostly doesn't make it into the mix because the composer has written the piece with the aural space needed to hear the soloist without help. To my ears, spot mics always seem pasted on and multi micing an acoustic ensemble is the devil's work; flat, one dimensional, sterile, air-less. Decca, EMI, RCA got along for years using carefully place main pairs (or if you were Decca, a trio of Neumann M50 mics) and made magical recordings. FWIW, my go-to pair if I walk into a new hall with a new group is a Schoeps Mk4 ORTF pair; almost always works. I use a Royer SF12 Blumlein on choirs, Schoeps Mk5 omnis with flankers for orchestras and a Schoeps MS pair for smaller ensembles like quartets. But I have no rules and so much depends on the hall and the group. Mk5 heads are so great for this because they switch from omni to cardioid and those two patterns will do as a main pair in a high percentage of situations. If you have only the Rode pair, it will certainly work. Use your ears to find a nice spot for them and record a very nice stereo track. BTW, Phil's placement measurements are a great place to start. He knows of what he speaks D.

So what happens when the director gets his copy of dailies and the deep actor that you carefully wired and recorded, but who isn't captured on the overhead is seen but not heard? You are fired. Pretty good reason to include a mono mix for dailies I think, right? D.

+1 for plain old lighter fluid. An excellent general purpose solvent that doesn't do collateral damage to plastics. Goof-off and more importantly, acetone will etch almost all clear plastics (think meter lenses, plastic cases for electronics, etc) so use it carefully. Acetone is a kick-ass solvent if you use it carefully. Goof-off, a little less agressive but still dangerous. Lighter fluid will do a good job on tape goo without eating up the stuff the goo is stuck on. And, oh yeah, acetone is a known carcinogenic, absorbed through your skin and mucous membranes (nose, eyes, etc) which doesn't mean I don't use it sometimes But know what you are playing with. D.

I believe that Mr. Dugan is no longer doing any Nagra service to concentrate on other things. Perhaps the techs at Trew Nashville could set up you machines. But like Ron says, these are obsolete devices now which may have some love from some vintage guys somewhere. My guess is that no post house could/would transfer your sound if you recorded a day on a movie or TV show. Some music guys are using them for "out of the box" saturation of a DAW's files to create a more "analog/rounder" track. There are plug ins that do this too. D.

Marc, is that the "real" center console from the Astin Martin in the film or a fan's mock up? Love the dymo labels; just like Q woulda used D.

Drop the shield on the iPhone end of the mini TRS. D.

Why dont you use a piece of Canare console cable (balanced) and run the shield from pin1 to pin1 and cross over the other two conductors pin2(5) to pin5(2). That way, it won't matter which way the cable is used between the Alexa and the sync box. D.

+100 for the QSC K-series. They simply made my JBL EONs sound silly. D.