The Immoral Mr Teas

I would add 100 just for the "Made In France" ! Only just looked back and noticed that, although it was pointed out. Priceless even?

I wish I'd been at that one, sounds entertaining. One example of his work is the Bogdanovich film of Paul Theroux's "Saint Jack", a cast and crew who's who, including producer Roger Corman and exec producer Hugh Hefner. There was some real quality stock under that wife's bed. Jez

Very sad to hear. I also just knew him from here and probably RAMPS. Always helpful, always a delight. Thank you Simon for your own write up: hopefully we'll get to hear some of the vintage (tho' seems odd still to me to refer to the 80s as vintage!) stories or memories over the coming months. RIP Malcolm! Jez Adamson

Here's golden opportunity to not bother telling an entire joke but just give the punchline. The punchline is; "Hong Kong, really? ... Is it true you can't buy a Stottie Cake in Manchester?" To the original poster, BGood; I realise I'm the least qualified to suggest this (as The Immoral Mr Teas - and I'm certain any Immorals won't help much in getting anyone a teaching position) but telling us your name, your experience, credits etc might just help a little for us to know how to help you. Like Simon, I presume it may be a family or marital situation that preempts such a move: myself, as someone who has lived and worked in Europe throughout my career and now expect a chaotic and calamitous future, the UK would be the last on my wish list as a move. Education might be less affected by the current shitstorm but I frankly doubt it. Most of the folks here, including myself, operate in the London area. I come from north of Yorkshire so know the cities fairly well, although I don't work there (nor do production sound recording, nor teach - I'm post) so I'm sure if you tell us a little more about yourself and ask some specific questions someone will be well placed to help out. All the best, and good luck, Jez Adamson

Jay, you didn't have to explain it (to us) - perfect. I second Larry! Mike, I watched Merry Christmas last night, certainly for me one of the very best Christmas films going, and a tough watch. You made a classic and one which made me want to be in this industry when I saw it as a kid. Bless all, Jez

Ha! I immediately looked them up on ebay - two available at $999 ! If I sold both my nicely lined up functioning Nagras I could buy a pair of these sexy 'phones! But yep, they are nice to see and learn about. (Japan - why might anyone choose them over the 7506 - linear response?) Good all round though - thank you both Jez

Ty - it's Christmas! Why the pessimistic subject?? Myself: soundie, engineer, editor, technician .... above all - always for now virtually thirty years - "filmmaker" Happy Christmas to everyone - but to Mike as a fond and proud extra - MERRY CHRISTMAS MR WESTGATE ! Bless this forum! Jez x

No idea - but - was it a digital or good old fashioned normal photo? I'm asking because I couldn't zoom in to the obvious writing all over the earpiece which would probably answer your question (albeit likely in Japanese). If you can post another picture with high enough definition to make out the writing I guess identification would be easy. As a long time DT48 enthusiast I would be keen to know what those good-looking cans are myself! One starting guess is something by Kamesan, who were (and maybe are) a force in Japanese film/broadcast sound equipment. Jez

dela, you got a Richmond Film Services sell-off! Although I used rented SQNs for years and rented from RFS for as many years I'm sorry to say I am sure I never hired that particular unit! I vaguely think that the SQN was developed for and originally used by ITN (BBC's rival ITV news body) rather than the BBC - though I'm sure the BBC would have been soon to follow. Obviously I post my opinions/memory before checking my facts (as-is-my-wont) but it is worth pointing out that the story of the SQN3 and the Nagra SN is illustrated on the SQN website. If you haven't done so already open those SQNs up and look inside - I was astonished at how every picometre of space was used inside my SQN4 when I opened it to set the direct out connection. Best, Jez

One Male Dolly Bird?

Iron - tut tut - don't blame other departments. I've worked with picture departments on sound who have taught me stuff and could blow many sound dept folk away with their ability (privately one in mind with an Oscar nomination: his ex assistants taught me, they all helped me, and everyone helped to get the job done). Scott, I also love and trust the PPM - after all, it's how I learnt my trade. And whilst having assisted in music I never had the same trust (actually, embarrassingly, less trust but understanding through practice) in the VU on the consoles. Even when I don't plug the PPMs in I still hang onto them: I know the 'trust' is from a broadcast basis but it's also from knowing what's what in practice.

Thank you Mono, I lost this house to this man in a bet, along with my trousers and baseball cap. But then I'd only lived there 6 months myself, having won it (along with trousers and baseball cap) from Phil Oakey from The Human League (whom I believe had himself won it from the late great and sadly missed Nic Roeg). Best, Jez Adamson

Sums it all up, doesn't it?! Used Klark Technik, etc years before I heard of Behringer, Zoom ... ! J

Vas, me too: it's what I grew up with mixing broadcast. But it is an analogue (and transmission) standard (12ms to 99% peak if I remember - it will be embarrassing but understandable if I'm wrong). Still, it worked, and I agree it works within digital parameters: I am pretty sure that most digital spikes we have to deal with in dialogue post would not be there if a reasonable level PPM was the reference for recording: but is a digital PPM for mixers and recorders just a model on an analogue one, not the 'subtle real thing'? Still, for me too, I use the 'ppm+peak' on my 302, ... And hang onto my Neve (in a box) and BBC (not plugged in) PPM meters for my editing setup! Cheers, Jez

I'll quote myself first: Then afewmoreyears quoting RP: Then finally your reply to my question: To me it sounds very very likely that this is not being 'properly' dialogue edited, but dialogue edited in an environment (with such folk) which is based on (probably cheap) general editing. Who maybe work only with super hot tracks for live reality or docu and this is their first bash or successful low quote on sound for a drama series. My guess only - but having to boost isos as hot as your's seem to be on that kind of scale (rather than the 'one in ten or so' we might expect) sounds suspect. If it's really a problem, for the existing job or future work with the same production team, I might suggest looking at solving the 'problem' with the cooperation of the editorial dept, who are already happy, and if the problem indeed lies with sound post might be better suited to help correct the situation. If the problem is elsewhere they may be better placed to help sort 'what is expected'. For me, at the end of the day, if sound is usable/clean (not distorted or obscured with noise) then it's good sound. But it might be just an unfortunate combination of cheap quotes, tight schedules, non-fitting workflows etc. So good luck - try editorial and try to be understanding to post's needs. Best, Jez