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Found 3 results

  1. Hi, Is there anyone using footswitch for CL-9? I would like to use it to switch between tracks to be able to leave my hands free to the mix. Any suggestions on which model to buy? Thanks, Paulo Ricardo Nunes
  2. Hello, JWSOUNDers! Recently switched to using a 788T/CL-9 setup. In the interest of actor privacy, I'd like to find a quick way to either mute or pot down the feed to the Director's/Client's Comtek transmitter in between takes. I usually drop all faders except the boom strip anyway, but sometimes I want to use that time to adjust EQ, or make sure body mics still sound okay without broadcasting to the whole set. I thought of assigning the COM2 (for talking to the director or script supervisor) and all active inputs to the X2 track, assigning that to the Comtek output and making the X2 fader knob on the CL-9 a dedicated "Director's Output" knob, but I feel like there might be a more elegant way. In the meantime, I've been using the solo buttons to listen to individual mics, but can anyone give me a good shortcut way to 'mute all' on a specific, assigned output in between takes? Using the Keyboard/Logic Assignment to toggle button on my keyboard would work really well. Anybody? Thanks In Advance! Karl Wasserman Astoria, NY
  3. Hello All, I was wondering who among you is using the Sound Devices CL-9. I am thinking of purchasing one and wanted to know what your experience has been in the field. Functionality, things you like, things you don't. If possible, let me know why you like it more than a field mixer and why or why not. I am torn as to whether or not to go with the CL-9 option (due to cost and keeping my full 8 track count) or if a dedicated mixer (Sonosax, used Cooper, Solice) would be a better way to go and why. One thing that seems like a hang up to me is the fact that you have to select a channel, then the EQ, then EQ it as opposed to just about any other mixer out there where you just reach for the knob and turn it. Much simpler and quicker. Since I don't have much experience with episodic work, I'm wondering if folks who work in television could express their opinions as well. Seems like most of the photos I see, the mixer is a Cooper or a Solice. Is this just because you already paid it off or is it the better way to go for some reason I am unaware of? I have also heard that the com routing on the CL-9 is a little weird. Any thoughts on this? Before I get blasted with a lot of "read the manual" responses, what I am looking for here is constructive input from mixers actually using the CL-9 in the field and some insight into how well it performs in real world situations. Thanks! -Matt Hamilton
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