tourtelot

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.

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.

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.

Yep. D.

FWIW, in general, my "do-it-all" tip temperature is 750. I still insist on using lead/rosin core (and have a lifetime stock). Up to 850 if I'm doing a bunch of XLRs and remember to turn it up. D.

This! Works on lacquer-cover wires as well; Sony headphone wires. D.

I can add one to the list. From Wiki: Big World is a 1986 live album of original songs by Joe Jackson.[4] The album was recorded in front of an invited audience at the Roundabout Theatre, East 17th Street in New York City on 23, 24 and 25 January 1986 (except "Man in the Street", recorded during rehearsals on 22 January). The songs are loosely linked by lyrics covering a general theme of post-World War II international relations and global travel. I was hired to record those shows on my Nagra X4S ("Harvey Board") and QGB 10 1/2" reel adapter. I recorded the 2-mix from the truck and "universal time code" from the production. IIRC, there were a number of the Denecke TS-Grande displays scattered about for the non-TC 35mm cameras to shoot after a reload. It was a super-fun coupla days. D.

Director: "I have a great idea. Why don't we shoot the whole picture with a washcloth over the lens. It'll be so cool." D.

I had people ask to "listen in" more than a few times. I hope I embarrassed them with my response. D.

Two of my favorite stories: The first on me, a doco recordist on a BBC project in the 1980s. Nagra IVS with a 7" lid, running all over the place following a doctor as I recall. Listening in tape as I always did. Finally roll out (remember that? "Sound rolls out!") and I look in the portabrace case to reload. A full 7" roll of tape, not neatly rolled up on the take up, but crammed into every nook and cranny in that damned lid. Quite a while with an empty reel and a pencil and all was (miraculously) well. Whew! The other, a story told to me by a famous and Oscar-winning soundman (and not the one who runs this fine establishment) about being in go-go-go and taking the take up reel off one side of the Nagra and flipping it onto the supply side. He was not fired but after hearing that story, I devised a very strict policy on labeling my rolls. If I didn't see a label facing up on the supply side, I was damned sure to be taking a second look to make sure all was right. I must say, I never recorded over any tracks in all my Nagra days. D. And yes, that is about the best photo aver!

In the camera truck? Trucks straps have been used for years. Something like this? They make a buch of different styles. https://www.amazon.com/Ratcheting-Securing-Fittings-Tie-Down-Motorcycles/dp/B07XXL4HN2?th=1 D.

Metric calipers? D.

That looks like a nice switch. I see that they address the issue of fan noise which has been a problem for me on the Cisco SG300/350 line. I have figured out how to lower the noise of the fans to an acceptable level but it has been a project. The great thing about the SG300 switches is that is tons of information on line concerning Dante setup and that used ones are super inexpensive on sites like eBay. I have five of them and they work great. Not DC powered of course. D.

Yes, you can use an unmanaged switch. I recommend the Linksys line. One of the new retail. latest, is this one: https://www.linksys.com/8-port-business-desktop-gigabit-poe-switch-lgs108p/LGS108P.html But you can find somewhat more legacy switches on eBay for around $60. Plug and play. D.

There might be some things for you here: https://www.ebay.com/sch/i.html?_from=R40&_trksid=p2380057.m570.l1313&_nkw=nagra+iii&_sacat=0 D.

What's the difference between a flare and a highlight? A thousand extra dollars a day. D.

Also, remember that for me, most of my "Production Sound" gear was sold years ago and that I mostly have "Recording Studio" gear nowadays. Albeit gear that is used on location. So in that regard, Reverb is a pretty good place for me to sell. If I had newish and top-shelf production sound gear, I would certainly consider the NY and LA production sound houses. Finally, I am considering a "lend/lease" deal for a package with a young man who I know coming up in the location classical music recording biz. So sort of rent-to-own with a really nice curve to the deal. I am not certain that he is ready to own and deal with a lot of gear but the discussion is on-going. D. PS. Anyone looking for a nice Crest monitor panel. Used on a couple of scoring sessions.

I have actually sold two entire packages (not mine) and I am getting ready to sell a third, mine. I have found a few things. Nobody wants "your" (or "mine" or "their's") rig. Our work is built on and encourages customization and I find that no two of us do it the same way. Therefore, I have found that it all needs to be gotten rid of a piece at a time as daunting as that seems, and is. So here's how it has worked for me. The good, expensive stuff, especially microphones, will sell fast and at the highest possible price. That isn't to say that you'll get what you paid, but if you bought good (the best) microphones and you bought them used, you'll get what you paid, in most cases. For rare, clean and vintage mics, you may even get a tiny bit more. Cheap mics sell for nothing. People buy them new, cheap. Digital gear, like recorders, preamps, interfaces. mixing panels, you'll take a significant hit; the older the gear, the more of a hit you'll take. Cases, racks, IFBs, and cables? I say get what you can, but be prepared to have no one interested in the 15,000 feet of XLR cable that you (I) have collected over 40+ years. Your Magliner cart, yes. Your 35 year old Location Sound cart, not so much. Old wireless, yes but not for much even though you and I know that they perform perfectly. Our gear is sometimes a show-and-tell to clients whether we think that is okay or not. Sell a time-code slate. Maybe not. A Lectro 400? Nope. Well, you can sell it, but you won't be happy with what you get. All the bits and pieces; magic arms, clamps, Comtek phones, suspensions and zeppelins, booms. Yep, for a little something. Paid $3000 for that 788T 30 years ago? Maybe 1200. But it still works great, right? It's the one piece of gear that I would never sell. It and two or three pair of mics go with me into my retirement after 70 years walking the planet. My dear friend Dwight reminds me, "A seller makes a sale when he and the buyer agree on a price." That and remember to factor in all the use you have gotten over the years and the rentals that the stuff has put in your bank account. The stuff you bought last year for big bucks that you manage to sell for a pittance (or not sell at all), oh well. Where to sell? I sell across a lot of platforms. The obvious ones like eBay. But there is Etsy for "vintage" stuff. Craigslist if you rather deal with freaks in place of fees? Sure, but take care not to expose your stash to someone who comes by a week later and breaks into your garage. GearSpace forum has a nice classified section with no fees. You need to register and it's mostly recording studio stuff but it is worth a look. Reverb is a place that would be worth a look as well. I have had good success there. Again, production sound stuff is not its primary market but I have sold stuff there. JWSound's WTB/WTS forum is an awesome site with an obviously production sound viewership. The LA and NYC (Florida, Atlanta, etc) movie sound gear vendors (Trew, Gotham, Location Sound, etc) will take consignments and again, get seen by location sound people. Consignment fees are high and you might need to actually have your stuff in their showroom to be eligible. After a really not fun or easy process, you will find some (most) of your stuff gone, and hopefully have seen some income and a freeing up of space in your home (as important as the dollars earned in my case), but you will still have bins and boxes, and bags and cases full of stuff that it is obvious that no one wants at any price. Donations to local film schools, community colleges, friends who are just starting out, or for free on CL and JWSound are always a nice and freeing way to get rid of stuff and get some well deserved joy in return. Helping out those up and coming is a great way to pay karma forward, and I have been known to give away stuff that was quite valuable just to save myself from the aggravation of putting it on the market, especially stuff that I have "gotten my moneys' worth" out of. Good luck, head down and drive on. It will take a while and it will be a time and emotion challenge but you'll get through it and after all is said and done, it will all be okay. D.

FWIW, I have fit 1/8w resistor attenuators inside a Switchcraft mini-TRS. Not fun but possible. The Uneeda pages were posted by my good friend Rick Chinn; a brilliant engineer and designer of many Mackie mixing desks. Cool guy. D.

"You know Doug? They just don't make movies like they used to." Jim Webb on the set of Boys On The Side, 1995. D.

Pete is (was) a conversion god! D.

Yes, at least the last time I bought a card. Maybe less than a year ago. https://www.trewaudio.com/product/sound-devices-sam-32cf/ There was something weird with formatting of some CF cards in my 788T IIRC, and I needed to send them back for some other, maybe older, SD CF cards. Sorry I can't remember the specifics of the issue but it happened with two cards from different vendors. Calling Sound Devices gave me the info I needed to get the correct cards. So check that part out. I have four and I will probably never need to buy another one. D. And well, I guess that negates my "never failed" statement. The ones that formatted have never failed. The

I use the Sound Devices branded cards. They are expensive but I have NEVER had an issue with them. D.

Larry F. My respect for you and your company grows daily. TU! D.

First off, production "freak-out" is not your problem. Secondly, a ten minute sound delay is, what, ten minutes? Tough for them. How long did the gaffer take to light? And third, I am guessing (and I could, maybe, be wrong), that Lectro unit did not change by itself. Productions in "freak-out mode" is stressful but every department has the right to the time to do their job correctly. Just remind the AD that having him looking over your shoulder will only make the trouble-shooting take longer; maybe a lot longer and he should walk away. You'll let him know when your department is ready to roll. D.