Issue link: https://digital.copcomm.com/i/1122919
very unusual circumstances. If you find yourself straining to hear toward the end of the day and turn up the level, that is a sign of aural fatigue, and an indication that your regular listening level is too high. "Ringing" in your ears is a far more serious warning sign—it may go away, but the damage has already been done. The insidious nature of the damage is that it won't manifest itself for decades. The PRO-4AA's air-filled pads fail after a time, and need to be replaced periodically—they either leak or become too stiff. I've gone through almost a gross of them and don't know if I can get any more, but fortunately, there are new headphones available from Remote Audio, which are even more isolating, and I have recently started using them. Carry a spare for everything, and for "mission critical" items, carry a spare spare. If the original unit fails from an external cause, you may not discover the problem until it happens again while you are investigating. While it is nice to have an exact duplicate for the spare, some very expensive items can be backed up with a lesser device that will do until a proper replacement can be obtained. (The Zoom F8n recorder is a prime example: ten tracks, eight mike/ line inputs, timecode, metadata entry … all for less than $1,000. The TASCAM HS-P82 at twice the price is even better if you can afford it.) IMPORTANT: You may need adapter cables to patch the different backup unit into your cart—always pack them with the unit! (And have a spare set of cables.) Check out all your gear before shooting begins. Were batteries left in a seldom-used unit and have corroded the contacts? Or worse, the circuitry? Is a hard-to-get cable that is "always" stored in the case with a particular piece of equipment missing? This is even more important with rental items. Have manuals for every unit available on the set at all times. Not only for problems that arise, but also if you need some arcane function you have never used before. PDFs on your laptop are extremely convenient, but a hard copy under the foam lining in the carrying case can be a lifesaver if a problem arises when you can't get to your computer. (If not the original printed version, be sure that any copy is Xerox or laser-printed, not a water-soluble inkjet copy.) Don't forget to research sound carts as well, and at least look at all the different styles at the various dealers' showrooms. There are vertical and horizontal layouts, enclosed and open construction, different wheel options, etc. Over the years, my preferences have changed several times, first, because of the larger productions I recorded, and later, because of shortcomings I discovered in new situations. My first cart, a Sears & Roebuck tea cart, and no more room Giant tea cart on The Stunt Man with director Richard Rush I started with a folding Sears & Roebuck tea cart. It was light and folded flat, which made it easy to store and transport, and set up and wrap quickly. It also let me work in small spaces. Unfortunately, it wasn't designed for the rigors of production, and the plastic casters broke early on, followed by failure of the spot-welded joints. I replaced the casters with industrial ones, and brazed all the joints. I still use it for some one-man-band shoots. You can see its major deficiency: lack of real estate. But I liked the concept, so I had a custom cart of the same design manufactured by a company that made airline food-service carts. This solved the lack of space, but created the problem of needing a