Bob Marts

A question for those who have used a Filmtools Cart ( http://www.filmtools.com/fivejusoandv.html ) with a rack case mounted on it: How is the balance on it when it is tilted back on the rear wheels? Can it be rolled around easily or does it work out better to keep all four wheels on the ground? How stable is it in this configuration? -

My 1st car was a very clean 1957 2-door Chevy given to me by my brother-in-law when he went into the Navy (this was in the late 60's). All it needed was a new battery which my dad bought for me (I couldn't afford one). I was really proud of it and wanted to show it off right away. My first time out with it was straight to a popular burger drive-in after only owning it for a couple of hours. I had to park it on the side of the building though - the place was really crowded. I went inside and while I was waiting for my food, a couple of the cooks ran out the side door with a fire extinguisher, creating a quite a scene. I followed a bunch of people out the front and around to the side to find my car up in flames! It seems that when we put the new battery in, we must have created a short or something somewhere and it couldn't take all that new power. It was towed away and I never saw it again.

This is what I have: Remote Audio Wiring for CABETA CABLES Hirose 10 Pin – solder side – Pin numbers are on Hirose connector 1. Left + 2. Left – 3. Right + 4. Right – 5. Right phone (ring on 1/8) 6. N/C 7. Left phone (left on 1/8) 8. N/C 9. Ground for return 10. Ground for L & R Neutricon 8 pin male solder side –going clockwise around connector 1. Left phone (tip on 1/8) 2. Right phone (ring on 1/8) 3. Left + 4. Left – 5. Ground for Left and Right 6. Right + 7. Right- 8. Ground for phones Wiring for CABETACCOPLUS Neutricon 8 pin female solder side - same as male except going counter clockwise Download the PSC jpg to see all of it.

Interesting bit at 3:38 minutes in. (Seems to be the footage from the Soundworks short with the production sound that was not heard in their mix)

So true. Can you think of any other occupation where you must scrutinze sound quality through headphones 10 or 12 (or more) hours every working day than a production mixer? Sure, dispatchers and receptionists use earpieces of some sort all day, but we use isolating phones for hours on end, often at levels that are too loud for our own good. Anybody willing to admit that our chosen profession, often chosen because we have a passion for sound, has in the long run hindered our ability to hear the world as it really is?

Here's a couple of other pix of the mic if anyone's interested. Bob

I took some pix of my old ECM-50 and sent them to Omar. Here's one of them:

It made me chuckle, too. Years ago, I was involved with recording multitrack effects of cars for Sound Ideas, a sound effects library. We spent a week on a racetrack and recorded a dozen or so of the newest model cars from many simultaneous pov's. I used 2 DA88's on power inverters and mostly dynamic mics with some pretty funky homemade mounts. It took a lot of trial and error to get the right sound for tires, exhaust, engine, interior, etc. I even used lavs to get the right effect. Anyway, it wasn't as pretty a sight as the Audi team's set-ups! Bob Marts

I've already Googled quite a few transcript services and most of the sites don't really get into the details of time code - so I thought I'd ask for first hand experience with them here. Thanks again, Bob Marts

Thanks very much for your recommendation. Do you think that they're the only ones who can deal with stamped mp3 files? Bob M

Are there many US transcription services who can read mp3 files with stamped time code as opposed to linear code? Would anyone care to recommend any? Thanks, Bob M

Regarding quiet actors -- Over the years I have occasionally had to resort to my stock statement to the ones who refuse to speak up: "The only reason that you are speaking is so that I can record you". Bob Marts

A little history here. Electrovoice sold a Pin Mic dating back to the 70's (at least that's when I remember them). I still have 2 of them. I need to get a battery for them and see what they sound like. Here's the EV spec sheet on the CO85A: http://archives.telex.com/archives/EV/Microphones/EDS/CO85A%20EDS.pdf

http://symphonyofscience.com/videos.html

Great to know. I found a very nice COS11 with a battery supply XLR on Craigslist here in Seattle ($200.) Bob

This is the battery powered model -- Can it be powered by a Lectro transmitter if the xlr battery plug was replaced with the Lectro TA5 plug? Same voltage?

Dan Dugan http://www.dandugan.com/products.html

I wish I had part numbers for these, but I just walked up to the counter and showed the guy what I wanted then walked out with the new screws (minus a couple of dollars). Next time I go there, I'll bring them along and find out what the parts are. I did end up filing a little bit off the threaded screw part to make them seat a little more flush - took less than a minute to do that. Bob Marts

Once again, Phil - thanks for the link. You can even copy and paste code into the translator.

Thanks for the link. I think I will give learning Morse code a shot. I can see a whole new way to communicate w/ my boom op on the PL ;-)

Loved it - makes me want to learn code.

Here's a light I used on a movie a couple of years ago. Maybe it was a bit of overkill... ;-) We were shooting in a hospital and each department had their own recovery room. I loved the big adjustable ceiling mounted light in mine.

I put 2 XLR 4-pin jacks in a small Bud Box and mounted it next to my mixer. It's my aux power box for a LittleLight and the occasional guest device. I also use a strip of LED's on the edge of my recorder shelf. Bob Marts

After losing a couple of the tiny screws from the SM wire clips, I went to my favorite hardware store in Seattle (Tacoma Screw Products http://www.tacomascrew.com/ ) and fitted little thumb screws which have made things much easier when removing the clips - plus I don't need to have a tiny allen wrench to remove it.