Shastapete

Out of pure morbid curiosity, did anyone dig up what the "deal" actually is?

Another airhorn prank to consider:

http://www.videotoolshed.com/product/26/fcp-auxtc-reader Takes a channel of audio and converts it to LTC and sets it to the AUX TC meta data track

Might want to give this a read, as well as the other stickies over at GS http://www.gearslutz.com/board/post-production-forum/604616-speaker-calibration-tutorial-students.html

I would assume that you could just plugin your LFE track straight into one of the inputs on the SUB, It looks like internally it sums the lower crossedover audio from the L and R and spits out the upper through the XLR outs. So just ignore all the other i/o and use it like any other single input sub. There are a couple different surround track orders: L, C, R, Ls, Rs, LFE The ITU Standard, L, R, C, LFE, Ls, Rs and I'm sure there are a couple others… just make sure your daw is set the same as your speaker outs

Not a drummer (bass player, drool runs out the other side of my mouth) but you could think about those drum silencer pads. Obviously, the sound of the drums will be a lot different. But it seems to be a lot cheaper than an e-drum set, and your kit will still feel like your kit

Just bought it, it'll definitely be of use on future sets. Small request for future version: It would be great to have a sequence/slate number page in addition to the scene/take page not all projects I work on have scene numbers. Also, maybe rotation detection on the scene/take page, so the numbers always face the right way? Thanks!

I used to be a volunteer firefighter. My department didn't have any communication gear that would survive interior firefighting. We used hand signals and the buddy system and relied on our training. Hell, it was hard enough to talk with all the gear on and the respirator running

Not exactly cheap, or "official" http://www.modbook.com/modbookpro

I've always been a fan of the AKG K 271s (I have the 1st version) I find them to not as harsh and fatiguing as the 7506's but still give me a good representation of what I'm working with. I mix in the studio with Genelec 8020's and I find them to translate well with one another, FWIW. These are also closed so they don't really fit the bill of an open style headphone, but as a fellow glasses wearer with "thick" frames I've found these to be more than comfortable for extended use. As a tangent, anyone mixing on Grados? I like the way they sound, but have never had the opportunity to use them in a critical listening environment.

Running it through the dishwasher will work ...once.

I've been using SRW now for 4 months. It has been pretty solid thus far, did have one issue over the weekend where it lost about half a day's worth of notes (not sure if I did something, or if it just crashed and lost it) My one big gripe is that I switch between recorders from gig to gig depending on the needs of the production. If I update the File Naming Formula for the recorder I'm using, it goes back and changes all of my older reports. Ran into an issue where I didn't send production the report at the end of the day. Changed settings for a gig the next day, and when I went to mail the report all the file names were in accurate. Something to be looked at in the future?

It depends... (sorry) As others have mentioned above, if you think it is a problem, it is a problem, if you don't… well, you don't. There are a bunch of things in play that can affect the perception of delay between two sources Digital Processing (re: Zax and Lecro lavs) Intensity of the sound Frequencies (ie what frequencies are coming in to the mic at the angle it is presented to our noise maker) Distance to the noise maker Mix level any combination of the above can change the perception of the delay. That 3ms delay of the Lav mic could be masked if your boom is roughly 3 feet away from your talent. Also, the effect of 3ms of delay will be perceived as phasing or comb filtering (see Larry's comment above). In practical use, for me, I never really have an issue. As in my unscripted situations I'm usually booming too, and if it doesn't sound good I move the mic until it does

Thanks for the visual aids!

I've been using SRW now for a few months and I like it, some parts are a little less than intuitive, but it gets the job done for me. Since my kit is based on the DR-680, timecode isn't something I've really had to worry about. It works well on my iphone, but in the future when I upgrade to a TC recorder and convince myself that I really do need an iPad, I'll likely switch to MovieSlate

This showed up on Mandy today

Nope, Brooklyn. The user name comes from a 10 year old inside joke/nickname from college.

Just remember it is still 4+ months away. Counting chickens, hatching, etc.

Any AES42 support with the AES input option? Also, can the AES inputs be selected as the tracks to ISO record?