Gear Lust and eBay

list of pictured gear at bottom of post

I’ve done pretty well in the past purchasing professional items on eBay. In fact, everything included in the picture above (about 1/2 to 2/3 of my total kit) is a piece of gear that I’ve purchased second hand through eBay auctions or “Buy it Now.” After my most recent purchase of a Neumann RSM-191, I took a look at the patterns that characterize how I made all those purchases. I identified what my consistent habits are, and thought I would share them as a little guide to acquiring gear through the online auction site.

There are two extremely important ideas that have very little to do with eBay itself:

1. Discipline
2. Patience

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Working for “Free”

“Should I work for free?”

This a polarizing question that pops up every now and then. It’s also a discussion I’d like to see elevated; despite the risk of making myself a target for binary individuals. Students and recent graduates are usually the ones you’ll find asking it. They’re not as familiar with the industry and are looking for productive ways to increase their experience and exposure. Many veterans view the concept as “devaluing” the work that allows us to pay our bills. They’re not incorrect…though they are typically more forgiving of those people working for free than for people who work at reduced rates. There is a fundamental contradiction in this question that needs to be pointed out though.

Nothing is free, there is always a cost for someone…

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M/S Recording: Replace the Cardioid with an Omni?

I’ll summarize this article (the answer to that question) in one word, “No.”

Ssomeone asked this question this question a few months ago. I don’t recall where exactly, but I and several other people were quick to explain a few points as to why M/S doesn’t work with an omni and figure-8 pair. For some reason, it popped into my head again the other day…and I can see how someone might, in haste, jump to the conclusion that it’s possible.  Afterall, if you sum the signals from an omni-directional and figure-8 microphone, the result is a cardiod pattern signal. In fact, this was how the first cardioid microphones were manufactured. If you’re now thinking, “Wait a minute! If you can get a cardioid signal from summing an omni with a figure-8…,” then I’m about to explain (with plenty of audio examples for you to listen to) why this isn’t the best method for creating stereo material.

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Jeepers Creepers: SDC013 Finalists

Another awesome turnout for the Sound Design Challenge. There were a lot of unique approaches, and I thank my fellow judges (Miguel Isaza, Howard Phillips and Judge Rice) for helping me narrow it down to five Finalists. A big thank you also goes out to Colin Hart, and Hart FX, for sponsoring this challenge.

As you review the entries remember that, first and foremost, the entries are supposed to work as a piece of advertising. Participants were asked to also play up the horror aspects in the footage, and to match the sound and tone of their entry to the time period the footage was produced in (1950′s). Please keep these ideas in mind as you make your decision. [Poll at the bottom of the post and in the side-bar on the right.] Voting will remain open until 7PM on December 26th (Eastern Standard Time).

Update: I have reviewed Andre Albino’s entry after continued comments and have decided that it should indeed be disquailified. One of the rules for this challenge stated that all of the original audio needed to be replaced. This was a gross oversight on my part. It was not one of my picks, I did not inform the other judges properly of the entry’s status, or catch it when it was nominated in the judging process. This is not meant as an excuse, merely an account of what happened. I apologize to the community and Andre for this. The voting will continue with the remaining four finalists. If you casted a vote for Andre and would like to have your vote re-allocated, please e-mail me.

Here are your finalists:

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The Differences Between Ignorance, Stupidity and Laziness

Yes, there’s a difference. Before I get rolling, let me first say this:

  1. This is not inspired by any one particular person or event.
  2. It’s something I’ve been musing over the last year or so; kind of examining lots of little instances.
  3. I don’t consider myself exempt from, or above, these descriptions. On the contrary, this post is a bit of a self-cautionary examination. For as important as I feel it is to share these thoughts, they’re more important to me as a tool for self-development.

See? This isn’t a rant, it’s just a collection of decisions that I’ve come to. So let’s get into it. Ignorance, stupidity and laziness…there’s a difference between each of them, and I think the nature of each one is important to consider when working with other people. Continue reading

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Impedance and its Effects on Microphone Performance

I plan to create a number of posts in response to some of the sessions that I sat in while at the AES convention this week. I’m currently on my way back home, sitting on a train that has wifi (albeit very limited). This seems like as good a time as any to get started. I’m going to begin with one of those subjects that is either completely off of peoples’ radar, or seems like complete voodoo even if it isn’t…load impedance and it’s impact on microphone performance.

Impedance is one of those concepts that is relatively easy to understand, but can be difficult to track down how it affects a multiple component system such as a microphone and preamp. Electrically speaking, impedance is the opposition to current. If you know what electrical resistance is, that’s a good starting point. They’re very similar. In fact, resistance contributes to impedance. Impedance is the total opposition to current. The other components of impedance are “capacitance” and “inductance” (also referred to collectively as “reactance”). Continue reading

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A Few Facts About the New Pro Tools 10

I’m double posting this, both here and on DesigningSound.org. Don’t forget to check out Jamie Hard’s excellent post discussing the features of Pro Tools 10.

This is a follow up post to Jamie’s article from last night. I spent some time at the Avid booth today to get answers to questions I developed after catching up on the press release data; and to also address some of the points that Jamie brought up in his article.

Let’s start out with this fancy new multiple file formats in the session. It’s quite happy looking at nearly anything you can throw at it. This includes the RF64 wave files that Jamie mentioned in his post. Pro Tools will handle these types of files natively, without any issues. So, yes, multi-channel audio files over 4GB in size are now supported. It’s important to note, however, that bit and [was incorrect on this...multiple bit rates within one session is supported] sample rate conversions will still need to take place on import. The sessions will not support files of multiple rates, only multiple formats (aiff, wave, etc.) Continue reading

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