Strei

+1 for android. +infinity for android... EDIT: +1 Oklahoma -1 for having TRS connectors for line in (?) +1 on designing it to work in extreme conditions, because that's what our job entails. And if you are looking to the future: At least 4 tracks of AES inputs would be ideal. Thanks!

Nice and simple. Care to share information on the big black wheels?

I have a question: How does the magliner folding mechanism work with the drawers attached? Do you detach the shelves and drawers when loading in the car, and then re-attach when deploying the cart to a gig? Thank you.

Tom Duffy, Is the DR-680mkii on schedule for a March release? I sent these questions in an email, but I might as well post them here: Are you able to rename the files/takes via a USB computer connection and still have the files available for playback withiin the DR-680mkii? Can you rename the folders via USB computer? How many folders can be created on the DR-680mkii? What is the DC current draw of the DR-680mkii? (I need to know this for a modification to my BDS system, I currently run a DR-680) Thank you, Ricky

OpenCulture has these textbooks available for free: A First Course in Electrical and Computer Engineering by Louis Scharf, Colorado State Electrical Engineering Digital Circuit Projects: An Overview of Digital Circuits Through Implementing Integrated Circuits by Charles W. Kann, Gettysburg College Electromagnetics and Applications by David Staelin, MIT Electromechanical Dynamics by Herbert H. Woodson and James R. Melcher, MIT Fundamentals of Electrical Engineering I by Don Johnson, Rice University Introduction to Nanoelectronics by Marc Baldo, MIT Introduction to Physical Electronics by William Wilson, Rice University Lessons In Electric Circuits by Tony R. Kuphaldt, Bellingham Technical College Operational Amplifiers: Theory and Practice by James K. Roberge, MIT Signals, Systems and Inference by MIT Signals and Systems, by Alan Oppenheim and Alan Willsky, MIT System Design for Uncertainty, by Michael S. Triantafyllou, MIT They also have 100's of free college level courses available ranging from online videos to entire semester's worth of lectures, lesson plans and student participation: http://www.openculture.com/freeonlinecourses#Engineering (Mechanical, Civil and Electrical)

Lithium is no joke! I don't know if humans are yet smart enough for smart cars and electronics yet....

They've been faking the news forever. It's what they teach in school these days. Have you ever noticed the middle east war footage accompanied with the perfectly recorded muslim chanting in a peaceful reverb-laden hallway?? With that said, I'm still surprised this slipped by me. Even on the British channels, they sweeten the sound of the Tesla (or they have amazing lavaliers tx's on the underbody). Tesla's creep me out because I can usually locate things based on how they sound, but with a Tesla, you can turn around and all of a sudden it's two feet away from running you over.

I like your idea. Practicalities: -needs a remote trigger recording function or else it's just too much work for a sound-mixer and post (TC would be nice also to lessen workflow for post -- if your product is going to cost me more time and labor, then it is not helping me or us) -Adjustable gain on mic input -- where is it? Must have it. How many db of gain/headroom? 16 db of redundancy is cool, but I still want to pass-thru into a wireless system so I can mix it with my mixer/recorder that's in my bag or cart. So I'll need adjustable levels. I don't see how 16 db of redundancy can help with the pass-thru of the audio unless you have built-in some sort of "never-clip" like switcher between the two channels. -External power would also be nice -- again, your adding more work for me if I have to switch out more batteries. -If you could make this practical for me, I would use plenty of it. I used to work weddings and events. I agree something like this could be useful in those areas. For corporate or narrative work, it could slow us down a lot though. -- Thanks. Edit: Also, I agree that the Zoom H1 is a great recorder for it's very small niche of small-sized finger-held recorders.

+1 on "thanx for posting plus everyone's shared experience," "not changing the thread title," and "why is this thread in this forum?"

Thank you for the words of wisdom, Crew. Someone on fb told me to "shut up and learn your lesson" and I guess it fits to an extent. Tough industry. The 2nd A.D. was an ex-sound guy, and he came to me later in the production, manned up and said, "I am sorry. You should have walked. Everyone should have walked." I'll try to be more diligent about the gigs that I take, even if it means less income (and more stress for my family who already looks down on my career path). Godspeed.

@jozzafunk & @johnpaul That's exactly how I went about it. I met with the department heads, we brought our concerns to production. Nothing happened. It literally got worse each production day -- all the way up to the last two production days where the big stupid stunt almost burned down a barn with the entire crew trapped inside with no fire exits (I left just before roll and told everyone else to leave the building as well). About halfway through the project, I told them to find another sound guy and I was walking. Just about every department head asked me to stay for their own job security and gave me reasons such as "I've never quit on a film, ever" and "these actors, these crew members -- they need to pay rent. These P.A.'s need the experience. If you leave this film is done for." This was the AD/ 2nd AD / Gaffer / UPM telling me this (separate heads, not one guy playing multiple hats). Apparently they didn't know how to find a new sound guy. And to be honest, had I walked, I would have been 2000 miles away from home. The shoot was in the Midwest, and I live in CA. I spoke up about all of the dangerous things that just kept coming day after day (there were real guns on set for sure), and really it just gave me a bad name. I'm feel like a lot of those dept heads and crew members didn't/don't take me as seriously BECAUSE I spoke up -- and I even told everyone, trying to teach the new kids/P.A.'s... this is not the type of networking that you want, so when your well being is at risk, it is ok to walk away. But they persisted, walking away would risk my reputation and put other people's incomes at risk.

Any recommendations about what to do about these Hellish indie shoots that run dangerous and rogue? I had a similar experience last summer and the director/producer still owes me for reimbursements. Dangerous stunts were basically unsupervised (except for a utility crew member of the specific production company who had ZERO experience in that aspect of filmmaking); working in dangerous/toxic environments without being told of health risks; people working mostly for free/low-pay; 6 days/week; only 10 hours off per day.... Not even rehearsal on the stunts (OR blocking for sound on the whole shoot) that involved a falling wall and chambers of gas...

Coming from San Diego, this helps a little bit. I do like Temecula. I was on a marketing video shoot there that was about aprons. Would love to work there more often. If anybody wants a free ebook (with videos) on how to make aprons I can refer to you the website. No spam, just trying to relate.