Matt

An interesting point to consider from copyright law may have application here:. "The primary purpose of copyright law is not so much to protect the economic interests of the authors and artists, but rather to promote the progress of the useful arts—that is knowledge and creative works—by providing an incentive for the creation through giving the creative community exclusive rights in their works for a limited period." Not the same as a patent, but perhaps a similar concept. Sent from my iPhone using Tapatalk

It varies from production to production. I find my attitude makes all the difference in the world. Are you friendly? Do you ask them about their lives? You may have to be more actively social. But some people are just arrogant and unpleasant. Just learn to let it roll off of you. Take confidence in the fact that you can give them excellent sound IF THEY LET YOU. Pick your battles. I feel like it is my job to tell the AD (or whoever is in charge on set) about a sound problem. If they say, "Don't worry about it," then I leave it alone. I have alerted them and now THEY are responsible for the problem if it is an issue in post. Instead of pointing out problems, try to have alternative solutions before bringing it up. But, even with all this, the camera department will still be treated like kings and you'll often be an afterthought. Most directors understand and have studied the art of film visually, and really don't understand what we do. Also, paradoxically, the better you are, and the more easily you pull off difficult audio scenes, the more it you can be taken for granted because it makes it seem like an easy job. Good luck man. We are all pulling for you. Sent from my iPhone using Tapatalk

Just get a Tentacle Sync, velcro it to your phone, feed timecode into the 1/8", set free Denecke app to read it. Only issue might be the battery on the iPhone or used iPod Touch. Or just download the Bloop Box app if TC is not essential. Sync with the bloop and flash frame. For about $75 more you get a syncbox and a small porta-slate. For a dedicated device, though, and the price, pretty cool. Sent from my iPhone using Tapatalk

Yes. It is strange. I changed it out for another Eumel I had with the exact same lavalier and XLR cable on the same channel of my 788T supplying phantom. The noise went away. What did you change when you made the newer model? Perhaps I can look inside to see if something is different. Sent from my iPhone using Tapatalk

Exactly! Some of you guys on here seem to assume that every production works exactly the same. That you get nice rehearsals to set gain staging and never have dramatic, unpredictable volume changed. Well, to say that you don't need limiters if you have proper gain staging is like saying you should get 100 yards of reception on your Lectro 411. Well, yeah. If you are in an open field, line of sight, with the transmitter on the end of a boompole. So, please don't act like because not everyone is on the same type of production as you that somehow they are "less than" professionals. On reality and unscripted shows, which are a major portion of the entertainment world today, like it or not, limiters are essential. I defy the most grizzled veteran recordist to never distort audio on an unscripted show without the use of limiters. I see them as a helpful tool as well on numerous projects where the full rehearsal has gone the way of the dinosaur. I don't like this change, but so it goes. So, should you slam the limiters all the time? No. Is there something wrong with using them for safety? No. Is it highly disappointing that Sound Devices made a decision, 3 times, to give extra channels that are virtually useless due to the absence if input limiters? Yes. This is the primary reason I'm still using my 788 and will until it croaks. All 8 inputs have limiters, are mic/line switchable, and can provide phantom. Maybe the decision by SD was based on price point. So why not make the 688 the big daddy? I'd pay more for it and would have upgraded by now. Instead it is a "12 channel recorder". Except for the fact that the last 6 channels have no limiters. Hell, I don't need 12 channels. I'd have been happy with a 788 with a new color screen. Anyway, I don't really have an opinion about it. At least they didn't make an 8 track machine with only 4 faders. THAT would be crazy. Sent from my iPhone using Tapatalk

I was using an Eumel with a COS-11 lav hardwired to my 788 yesterday and noticed it was very hissy compared to my other Eumels. Does anyone know how to fix this? I'm thinking a grounding issue with the P48 inside the Eumel. Does anyone know how to disassemble one? It's glued together pretty tightly. Sent from my iPhone using Tapatalk

Trew might have a few words of advice. Call them. Sent from my iPhone using Tapatalk

I personally don't like the sound of the limiters on these. So I set it very low and have never had any range issues or noise issues despite Lectro's manual. I use the noise reduction in the receivers, though. So that may be helping. As I recall, Simon Hayes also set the levels very low to avoid the onboard limiters in Les Miserables. On a reality show with collar mounted Sanken COS-11's I set it as low as 15. This seems to work well with sudden loud sections. I set it the same for chest mounts. One trick is to hold the mic on yourself where you intend to mount it on talent, then yell or get loud. Observe the transmitter and set it accordingly. Opinions may differ on this. Sent from my iPhone using Tapatalk

Some large cable hooks that fold left and right would be nice for tight doorways. About 4 of them. Sent from my iPhone using Tapatalk

I'd add 4 large cable hooks. The kind that can fold left and right to squeeze through doorways. But I love the design. I'd but it now if it were available. Sent from my iPhone using Tapatalk

Which size Rollypolly bag do you find most useful? There are a few models on the website. Sent from my iPhone using Tapatalk

Ha! Thanks guys! You know how scary it can be in our profession to try to relocate when you've already spent years building up a client base elsewhere. I am in the union in local 492. I guess I can always transfer. It would be worth a call. And, Matt, I'm an expert pencil salesman. Matt

Hi, I am thinking about making a move to Chicago and was wondering what the work opportunities were like for ENG, commercials, TV, film, etc. Feel free to contact me off the list directly. Thanks in advance. Matt

+1 on the larger front pouch. Can we see inside the front pouch? Does the front pouch have cable pass throughs or is it enclosed completely? I kind of like total enclosure so batteries and bits don't wander around the bag.

This looks really cool. I'm excited to see where you go with this.