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robaudio

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About robaudio

  • Birthday 01/01/1

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  1. I met Rick in 1973 when I first moved to Vancouver. There was not a lot of work to go around in those days but we spent countless hours talking about sound mixing. Rick was the kind of guy that after 5 minutes after meeting him you felt that you had known him for years. A man very comfortable in his own skin. He was also a guy that did not put money before everything else. Even though he told me the time was close his passing is still a shock. If you look up the word 'professional' in the dictionary you shoud see a picture of Rick. A great loss to Vancouver's sound community. RIP to one of the best! Rob Young
  2. Great blog post about working for free and making money in the future:http://www.27bslash6.com/p2p.html
  3. A great loss the to the film industry and the world. I worked with Ringo thirty years ago but am still to this day telling Ringo stories. He made the job fun and the world a happier place. RIP Ringo. I am sure the party has started. Rob Young
  4. I have sent broke Sanken lavs to Plus 24 in LA for a trade in. http://www.sekd.com/default.asp
  5. I am revisiting this thread that ended in January and ask the same question. Has anyone used 48.048 30ND in Boom Recorder successfully on a production? Regards Rob
  6. Wow, what a thread. Sort of like seeing my life passing before me. I have been frantically prepping my next film all week so have to jump in late. Where to start? The 'Mission to Mars' opening shot was mixed by Patrick Ramsay and myself and has to one of the most satisfying shots in my career.( I like the 'been around the block' line) We rehearsed for a day and shot it in a day. Patrick and I got to fine tune everything because of the day of rehearsals. I think there were 17 speaking parts and we used a combo of boom, plants and radios. We got to do something I have never dared do since, when the shot started on a group and the shot was wide the first one or two lines were on the rf with the boom as sweetner and when the boom op., Charlie O'Shea, could get in the rf was dumped. We mixed down to a Deva, the original, that had numerous tech. problems. It was a rental and finally gave up on it after a month or so with so many problems and little or no support. I had to go out on a limb to use it as production and post did not want it. I have since mixed 3 features with a Deva 2 without a hitch.(I now use Boom Recorder as my main recorder with 744t backup, as does Patrick Ramsay). The four tracks were sufficient because each group contained 2 to 4 people. What I remember most is when we finally nailed the shot we were high fiveing and yelling like teenagers. Can't remember ever doing that before of since. Both Brian De Palma and Larry were very sound friendly which always makes the job easier. What to say about Jim Webb? He truly was a mentor on 'Buffalo Bill' especially when he found out I was working as a local without hotel or per diem. He and Chris McGlaughlin were wonderful teachers. He recorded on an 8 track Stevens with the 8th track modified for pilotone. The mod was made by Jack Cashin who was on set with us every day. The entire film was shot on one location with xfers done in an Atco trailer. The xfer machine was used on set when we had heavy dialogue days with music. Altman liked the music recorded live. Jim also let me mix second unit with the second machine. I have been thinking of how great our job really is with the sharing of knowledge and what I learned from Jim Webb, Jeff Wexler and Brian Simmons to name a few. I have tried to pass this on the the new generation of mixers, the young guys who worked as my third and now have successful mixing careers. Perhaps I am feeling nostalgic because I hope to hang up the headphones after the next two shows. Jeff, as for the pix. Hate to correct you but I think the year was 1976. This site really is 'The Sound Coffee Shop'. Regards Rob
  7. I have the same matrix and had it modified by my local repair guy. Picked it up in a couple of days. The hardest problem was the lack of space for extra wiring. I kept Ch. 1 post and had the others switchable. Rob Y.
  8. My condolences also to his family. I met David many years ago and we managed to keep in touch for a long time. He was a go to guy re: tech questions before internet etc. He was driven by an unlimited curiousity and very willing to share each new discovery. A wonderful man who will be greatly missed. Rob Young
  9. I was thrilled to see First Blood on your list. Several things contributed to this being a perspective film. First of all it was a one camera show, except for stunts etc. It was a film with the lead shirtless a lot of the time. And finally, it was week two of this film that I purchased my first Schoeps microphone, a real eye and ear opener for me. Personally I think that this kind of thing is getting more and more difficult to achieve with multiple cameras, often more than two, whispering actors and bad location choices. And not to forget the directors who say "everyone should be wired all the time". I find the Schoeps is used less and less. I seem to take is out only when dealing with professiona seasoned actors with real voices. Re: Credits I have recieved one front screen single card credit. It was a small low budget film that was never released but I did see the credit at a screening at the mixing theatre but did not have a camera with me. The only mixer who recieves front screen credit these days is veteran British mixer Simon Kaye. He must have a good contract. A lot of British films and television have good perspective sound, perhaps an old BBC tradition. Best to all Rob Young
  10. I was told the term MOS came from the old days when the sound mixer controlled the sound recorder and the camera with a selsyn motor which kept the two in sync. If it was a shot where sound was not needed, an insert shot for eg., they would tell the sound mixer that it was a "Motor Only Shot" and he would turn the camera. My first job was in a machine room of a small rerecording studio with equipment that was quite old. We used a selsyn motor to keep the dubbers and projector in sync. Rob Young
  11. I also agree. So many problems can be solved with intelligent communication. I have had many questions answered at NAB when talking to manufacturers face to face. Ron Meyer of PSC said that he gets 50% of his feedback in those three days at NAB. I find that almost all of them want our input. As for ramps, it only takes a few negative posters to knock a good discussion off the tracks. Hopefully that will not happen here. Rob Young
  12. Hey Jeff. Congrats on the site. My family got a kick out of the picture. We we really that skinny? Do you think we are the only ones from that crew still working? It was so long ago..... All the best, Rob Young
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