Field Kits

Discussion in 'Location Recording' started by Cucco, Feb 4, 2005.

  1. Cucco

    Cucco Distinguished Member

    Just out of curiosity, I'm wondering what all of you use for your "In-field emergency kits." (I affectionately refer to mine as my "Oh Sh*t kit). Basically, there are some essentials that we all use - such as the obvious things:
    *mic cables
    *mic pres
    *any other "duh" stuff.

    However, after doing this enough, I've assembled my life saving kit which consists of the following:
    *Almost every adapter known to man - XLR-TRS, XLR-TS, AES-SPDIF, Mic Splitters, TS/TRS-RCA
    *Gaffer's Tape
    *Marking Tape (Console Tape)
    *Mag-light flash light (x2)
    *AA, C, 9v batteries
    *band-aids (I learned the hard way - blood and circuit boards don't get along.)
    *Piece of rope between two caribiners (sp) - helps when in cat walks, etc.
    *rubber bands
    *small butane torch
    *3 12" goosenecks
    *2 pop filters
    *2 DI boxes
    *2 Sharpie markers
    *6 IEC standard power cords
    *Surge protector
    *Spare parts for my boom stands
    *Electrical tape
    *2 SabraSom "2 mic holders" with custom made (2) 18" bars and (1) 36" bar.

    I think that's about it. It's a relatively big case, but it's on wheels and I don't usually need most of it.

    I'm just curious though, what do you guys have that's different?

  2. FifthCircle

    FifthCircle Well-Known Member

    Wow... big rig, Jeremy.

    Anyways, for me, it really depends on the gig as to what I bring with me. My adapter kit always comes with me. It has 4 of XLR sex couplers (M-M, F-F), 3 XLR-1/4 in each possible direction (XLR M/F to 1/4 M/F), a variety of BNC, batteries, RCA, Phase flip, AC Ground lifts, etc...

    I'll often throw a couple extra mics in the kit, but rarely extra pres. If it is big enough to bring my cable hamper, I have a variety of mic cable, patch cords, adapter cables, of all types....

    The mic bucket has extra mounts, quick releases, stereo bars, etc...

  3. ptr

    ptr Active Member

    The only important addition I have (Besides a few kilos of useful junk) is a 4-pound hand held fire extinguisher (SP?). This after having had an electrical fire a few years back due to a poorly designed mic-amp.

    To me its the cheapest type of insurance!

  4. JoeH

    JoeH Well-Known Member

    wow....great minds think alike. (Hey, take heart in that we're not alone in this side of the geek firewall....even Ron Streicher has a similar rig for remotes, with all of the above listed, and more!)

    I really have to get around to making some post-able, low-res pics of what I'm talking about, instead of all this typing, but I've got a few tips to share as well. (I posted this originally in the main recording forum, about "affordable" gear, and "desert island" gizmos and stuff....indespensable stuff for remotes, etc.)

    Since my little operation has expanded to two fully independent rigs, (plus various third and fourth cobbled systems), I try to keep everything separate, redundant, and "ready to go" for remotes.

    for both rigs, I have:

    1. Mic Cable case - one is a traditional hard-shell road case, the other is a more plastic shell, but both have at least a pair of 100', 3x50', 8x 25' and a bunch of other various lengths XLR mic cables, including a spare 50' AC cable, 2 widths/sizes of black gaff, 2" white gaff, and a small hard-shell case for all the AT and AKG mic clips...big things with rubberband shock mounts., etc

    2. Misc. "rolling case," (See below) and inside of it I have a "tupperware" style multi-compartment case with locking clear plastic lid (usually available in Home Depot/Lowes in the misc.hardware dept.) this has just about everything in it (one for each rig) you could need in a pinch: AV adapters of every type & sex (BNC, RCA, etc.), sex changers for the XLRs, 1/4" to XLRs and back again, batteries, spare lamps for everything in the racks & littlelites, 3 to 2 prong AC "Cheaters" (a necessity on some old churches to get AC power out of some of those outlets!) and all kinds of sharpies, panel screws, etc., even a remote for the CDr. (Going past a Radio Shack is always a treat for a box like this: you can always stop in for the fun of it and pick up a few adapters; usually things like 1/4" to RCA, dual headphone adapter jacks, etc. )

    3. A "media case" with 2 or 3 events worth of blank CDrs in a small locking spindle case (usually the kind they sell for 10=pak DVDs these days), a label "stomper' applicator, empty CD jewel cases, more pens/sharpies, a PCMCIA adapter card, several Firewire cables (4 and 6 pin versions), a spare set of 250x reading glasses, and one of several Mag lights. I put a set of headphones in there as well, mainly because I CAN, space-wise. ;-) The other set of HP's travels outside of this box, in the main rolling case.

    I keep a clear plastic binder in the bottom of the "Roll case" as well, and I've got enough pre-printed label templates (with our logo, etc.) to get through a few days worth of concerts and/or sessions, along with a half dozen signs that say: "Quiet Please, Recording in Progress", and name/address stickers for things I have to hand out on the fly. (Never hurts to advertise!)

    4. Small repair kit; one is very basic with a tiny soldering iron, diagonal cutters & needle nose pliers with a mini flat & mini phillips head, and a roll of solder. PERFECT little insurance policy in case the worst happens. The other is more complete, but I rarely (fortunately!) have to use either one unless it's a pinch.

    5. Various audio snakes, depending on the event: 50, 100, 150 and 300 foot cables, two on big reels for easier travelling, and the smaller two go into the roll cart case with most of the above stuff.

    6. HANDTRUCK: Perhaps the BEST $50 I've ever spent. So nice, I bought it twice: I have two of these things, both purchased at Home Depot. They can tilt back like traditional handtrucks, or you can remove a cotter pin and pull out the handle, flip it down, and it turns into a roll-cart/dolly. I can stack everything on that and usually get into the venue in 2 or 3 trips, max., counting the mic stands and other stuff.

    I want to mention two very useful items that don't cost much, and you may be able to pick them up at an office Max or Office Depot near you:

    1. The rollcart I mentioned, it's actually an item by "Work Gear", called: Pack-N-Roll Tool Cart, item #85-010. (It should be the featured item right on their website at:

    It sells for about $19.99, and you can't beat it. Granted, it's a bit flimsy till you modify it a bit, but it's got tilt-back wheels, and a collapsable handle that makes it easy for a quick-roll into a venue with all your goodies in it. (It WILL collapse for easy storage, but I recommend GLUING the bottom tray in place permanently, as well as taking the two reinforcement ribs out of the bottom tray and TAPING them to the side handles so they stay on more permanently.

    It's a lot cooler looking (and more legal) than the old milk-crate days. I have at least four of them now, all lined up for various duties. They're all black, and they look totally pro, as well.

    The other item is a collapsable table that an assistant pointed out to me. (believe it or not, the only place I know of currently to get this is at Bed, Bath and Beyond. I kid you not! Now you guys have a REASON to go shopping with your wives tomorrow... :) ))
    it's marketed as "Versalite" made by NorthPole, and it's two pieces: top and legs, and it all collapses into a nice carrying bag. It's another $19 wonder, and if you carry two on the remotes, chances are that's all you'll need for most gigs. If you can't find it in the "seasonal" area, you can try to find it online, the closest thing I've seen to it so far is here:
    (on the main page, scroll down to "Tables" and click on that, follow the link, etc.)

    Although many venues have plenty of work-space for us to set up on, there's always a time or a place when there's NOTHING at all to use, so these silly little tables do come in handy. They're light, extremely portable, and hold a lot more weight than you'd think.
  5. DavidSpearritt

    DavidSpearritt Well-Known Member

    For most live concerts, its the Nagra V with charged battery (10hrs use), AKG 426B and stereo mic cable, Manfrotto air stand. Sometimes I substitute another pair of mics. :)
  6. mdemeyer

    mdemeyer Active Member

    Emergency Kit

    I'm reminded of the answer that Ansel Adams gave once when asked what was the most important item in his field kit...

    "Two Assistants" :wink:

    J's original post provokes a question... you mention the SabraSom holder with longer bars. I have also tried extending these with both aluminum and 304 stainless 3/8" hex rod. I find that, with either material on lengths much over 12" I get some nasty ringing in the extension rod itself. The steel and aluminum have different resonances, but both ring pretty badly.

    Did you do something to damp that (wrap the rod in tape, etc.), or do you just rely on the shock mount of the mic to take care of it?

  7. MasonMedia

    MasonMedia Guest

    Stuff not mentioned..

    Hello all,

    It's great to hear how each of us handles the task in their own way. For me, the goal (for the moment) is to get all the primary, backup and spares required into the car. That's becoming more difficult! :)

    I will not repeat what others have already shared. I carry a number of plastic bins (each with its own theme: short cables, long cables, adapter cables & short snakes, power, mic accessories, etc), a small tool box, and a fishing tackle bin box with an assortment of connectors, adapters, and stand parts.

    Not mentioned so far:
    -Volt/Ohm Meter
    -Tool Pouch
    -Colored Plastic Electrical Tape (mark vocal mics or highlight channels on the console)
    -Cable Hangers
    -Equip. Manuals & Remotes (incl. copy of Samplitude Manual)
    -Electronic Metronome
    -Phonic PAA2 (pocket Freq Monitor Test Sig Gen & SPL Meter)
    -Radio Shack SPL Meter (this is the good old analog standby)
    -UPS (I use a large HP unit, good for 30 min powering the entire rig)
    -IHF to PRO (-10 to +4) converter
    -Instrument DI
    -RTW Mini DAC 1230 (This is a cool design/gadget, but not something I've used much. It is a batt operated D-A converter. Looks like an aluminum cigar with F-XLR on one end and a mini-phone on the other. There is a presence LED but no ON-OFF sw. Unit comes alive when plugged into a digital output (AES). Sound quality is not PRO, it's simply a way to check for signal on a line or output)

  8. DavidSpearritt

    DavidSpearritt Well-Known Member

    I must say, I try to reduce our kit to an absolute minimum. We use the KISS principal. I hate schlepping the stuff upstairs, sometimes narrow in churches, and banging cases and gear in and out of venues. Sometimes we look like pack horses coming in for a recording. Not a good look, and not good for the back.

    So we tend to use multicores, stereo mics (therefore single stands) and mix to stereo rather than record multitrack. I realise on big projects its a different matter.

    I use to take a big tackle box full of adapters, cable testers, tape, glue, screws, tools. etc but this was never used and was heavy.

    Like most sensible people, we have very high quality cables and connectors and look after them, and if a video goon wants a feed, then he needs to supply the adapter. Its XLR all the way for us.

    I think getting the XLR standardised has been one of the greatest achievements of the AES and a reason to support them with membership. I applaud their support and ratification of other standards like BWAV file format as well.

    I know some people get turned on by gear and the amount of it, but I am not one of them. The Nagra V has been one of my greatest audio purchases for this reason alone, if does so much with so little. The other is the Benchmark DAC-1 for the same reason.

    Opinion Warning: This is only my opinion and I do not want to start any arguments, OK.
  9. JoeH

    JoeH Well-Known Member

    Dave, you obviously know what works for you, based on your own experience. That's NOT an argument, that's a fact. :cool:

    My own limits are TWO "roll-ins' per setup. Roll-in #1 is the handtruck/dolly with all the main gear, and the 2nd roll-in is the mic stands and cable kit. THAT'S IT. If it goes beyond that, I'm doing something wrong (or not charging enough!)

    I HATE to grunt and groan, huff and puff with too much gear, or not enough time to set up. (Never let 'em see you sweat, I like to say...)

    But how many of us have gone to gigs WITHOUT something crucial? In my band (rock'n'roll) days, I can recall all too many times when something essential got left behind accidently, causing all kinds of chaos and aggravation. (I still have the ocasional 'night-terror" dream, waking up in a cold sweat in the middle of a bad dream that I've got miles and miles of cables to run, dozens of mics to set up, and the choir/conductor is just about to hit the downbeat. And I can't find the record switch, let alone the AC power outlet!!!!)

    I just HATE when that happens. hehehe...... :?
  10. FifthCircle

    FifthCircle Well-Known Member

    You'll get no arguments about a simple setup from me... Heck, when you have a recorder of the quality of a Nagra, you can afford to take the easy route. You pay the big bucks for the reliability.

    I remember when the team I work with often used a Nagra Digital recorder. I can count the number of times I had to go to a backup recorder on the finger of one hand (yes, I said finger in the singular form). That was because of us being bone-headed and accidentally touching the exposed tape and putting a big finger print on it. (oops!!)

    Today, my rig usually consists of a preamp (rarely two- I can't remember ever having a preamp go bad on the gig), my planned mic and a backup/2nd choice pair, my computer (the biggest box), my DA-78 (backup- It is paid for, no use in getting another recorder), and power... The larger gigs get the cable and mic boxes. I have this great cart that expands, too... I can load it up for a single small gig or extend it to roughly 5-6 feet long for the big gigs. If I need 2 carts full of gear, I hire out. :D My adapter boxes and stuff are very small and they are for the occasional vidiot that tells me at the show they need a feed.

  11. DavidSpearritt

    DavidSpearritt Well-Known Member

    One of my finest hours, was showing up to a gig, WITHOUT any microphones. This is the problem with taking too much gear, whats missing is harder to find.

    Had to find a minder for the gear and drive back home to get them. I still got back just in time to connect the mics and push record. But I was sweating real bad and driving like a lunatic. :(

    And I did this again some months later!!! The second time I borrowed some cardioids that the facility had.
  12. Cucco

    Cucco Distinguished Member


    I don't think your approach is all that bad. If I could, I would gladly take a Nagra, 4 mics, and just enough cable to get by. However, I'm constantly "surprised" when I get to sites and I don't want to miss a gig b/c I didn't have the adapter necessary to patch into the house console (this occassionally happens), don't have enough cable (this would often happen if I didn't bring boat loads), or if some insensitive stage hand rolled over my cable and broke it.

    I use only Monster Cable and Mogami cable - much of it home rolled, much of it pre-fab. It's good stuff, but a 200 pound cart rolling over the XLR connector can render it useless.

    Also, when I'm told - "I would like a recording, but I don't want anyone to know you're here - not even the musicians." That's when I whip out the long-ass multitudes of cables.

    Long story short, I don't ever want to be in a situation where I'm caught with my pants down. (That happens every once in a while too and it's rather embarrasing. :lol: )

    BTW...I use a rolling dolly made by QuikLok. It holds up to 350 pounds and has pnuematic wheels. I can load all of my stuff on in one trip and, with a helper get it up an entire flight of stairs (even narrow ones) with little effort.


    I had a gig recently that I was sssoooo looking forward to. It was about an hour from my home and a chamber orchestra with which I play. I got to the gig a couple hours early, just to find out that I forgot all of my mic cables at home. I had two choices - find a music store that was open on Sunday at 1:00, or run home and get my cables. Oh yeah, I was also using a pair of mics as my mains that I was unfamiliar with.

    Anyway, I drove furiously home, got the cables, and broke laws of physics getting back. I plugged them in just in time to hit record and play the first note.

    The recording turned out awful. There was way to much ambience and not enough source. :cry: Fortunately, I was doing this gig for free and the conductor is a dear friend of mine, so I was able to explain everything to her and all was fine.

    Now, I keep a dry-erase board with a checklist on it in my truck. As I add cables, I check them off, mics - check it off, recorder(s) - check it off, and so on.
  13. JoeH

    JoeH Well-Known Member

    Dave, I once showed up for a gig without my (at the time) "military issue' ammo box (hey we were kids back then, it was all we could afford) that held all the mics, stomp boxes & adapters. Without that, it was going to be a drumo solo all night.... We were 2 hrs away at this particular gig. Called a friend and BEGGED them, promising them all kinds of favors and riches to get to our garage, grab the case, and drive like hell to make the gig in time. He did, we did, and another VERY costly lesson was learned.

    Still, over the years, at times I've shown up for gigs missing any number of things, which has turned me into something of an anal-retentive freak now.....hehehe.....I don't have a 'checklist' as such, but I do have a no-exceptions pack-list for each system to be always ready to go, and I am known for occasionally taking 4 or 5 minutes to mumble or recite (semi-out loud) to myself the list of everything I've just packed in the van, from the tip of the microphone to the headphones on my head to make sure I haven't forgotten anything.... :twisted:

    Oh, here's the best item forgotten so far: About a month ago, my helper and I BOTH stood there, loaded the van and somehow distracted each other as we were closing the rear doors, and drove off without the handtruck. When we got there and found it missing, my helper apologized for forgetting it. I said: "How can I blame YOU, when I stood there next to you and WATCHED you close the garage door with the handtruck INSIDE?!?!?"

    Ah well, I usually just blame these things on "information overload". :roll: :?
  14. MasonMedia

    MasonMedia Guest

    One more...

    I too have run into the unexpected -- like the time a composer with an Apple laptop was introduced as a guest soloist. He had an arrangement of some percussion tracks on the laptop. He planned to play them as part of the live performance. Well the Apple had an un-balanced -10dbu output. Fortunately I had an IHF to PRO balance box as part of my adapter kit, so we interfaced just fine.

    As for packing, I got caught once, too. I always try to arrive early to setup. First to unpack; then layout the snakes. Get the equipment set, prepare the mics, and set the stands.... stands?!? Oh :shock: ... the 15' stands were missing. Fortunately there was time to make a mad dash home and back. Found them right where they belonged on the storeroom shelf. Now, I check off on a list.

  15. Thomas W. Bethel

    Thomas W. Bethel Well-Known Member

    This is really an interesting topic.

    My interns call our recording gigs our "lets take everything but the kitchen sink" affairs. I like to be prepared. As my Dad said one time it is better to have something you need than to need it and not have it.

    I too want to be ready for the unexpected and here are a few I have run into in the past couple of years.

    1. We are recording a choral concert and the videographer wants and an audio feed at mic level on XLRs.

    2. A parent who is video taping a concert also wants an audio feed for his camera in stereo and on a 3.5 mm stereo plug at mic level.

    3. We are doing a remote at a church and one of the performers kicks out the power cord on their way to the stage causing all of our digital equipment to lose sync (we now carry a UPS with us to all gigs)

    4. We are at a large chuch and we are all set up when the priest tells us we have to move our equipment to the "back of the church" we did not bring a snake so we wind up using every microphone cord we have with us in our case and two from the church to get enough cable to move the stuff 75 feet away.

    5. We are recording at a person's home and their young dog decides to play with the microphone cables and puts his teeth though most of them while we are having lunch. Gratefully we did not have the phantom on or he would have gotten a nasty shock.
    We wind up patching them with gaffers tape but have to replace most of them.

    6. We are doing a recording and the bus carrying the band's equipment runs into a flood on the road and decides to go though the water. All the electronic equipment is stored UNDER the bus and it is all wet. I have to go home and get my heat gun and hair dryer to dry out the equipment before we can turn it on to do the recording.

    7. We are doing a recording at a church and the resident ""audio engineer"" (note the double quotes) decides that he wants a copy of the recording so he shows up with a very old Radio Shack cassette recorder which when hooked to our equipment make our equipment hum badly. Luckily I carry some Radio Shack 1:1 audio isolation transformers for just such occasions.

    8. We are doing a recording at a chuch and the power is acting funny. I have my trusty VOM along and plug it in to see what the power is and find that we only have about 95 volts coming out of the socket so I go home, get a Variac and an iso transformer and bring the voltage up to 115. Later in the concert I look and the power is now up to 130 volts so I reduce it to 115. Turns out they were cooking in the basement of the chruch for the reception and all their equipment is electric including the ovens.

    9. We were recording in a school. The school is very old and the power is all on 2 bladed Edison sockets except for one outlet in the middle of the front of the stage which looks like a normal three prong grounded AC socket Something does not seem to be right so I check the voltage with my trusty VOM and find it to be 220 volts. Later I ask the custodian and he tells me it is the outlet for the floor cleaner which needs 220 volts to operate.

    10. We are on a remote outdoor location with the president of the college playing with his jazz group and he want a recording of the proceeding. We are told that "there is lots of power" and we can be very close to the stage for the recording. When we arrive there is one 20 amp circuit and the caterer is there with his warming ovens taking up the only outlet at the venue. We also cannot be close to the stage as the stage is build out over the water so we have to be about 50 feet from the stage. Luckily we brought all kinds of extra cable and some very heavy duty very long extentions cords which we had to run for about 200 feet to get the power we needed.

    I always TRY and go to the venue before hand but somethings always seem to come up even if we have an extensive walk though and being a former Boy Scout I always like to be prepared.

  16. FifthCircle

    FifthCircle Well-Known Member

    Wow, Tom....

    You are way too nice. I find it interesting that not only are we expected to furnish equipment so that we can do our job, but so that every S.O.B. that comes to the concert can do theirs as well... I love the vidiots that ask for feeds but can't accept a pro level signal, or don't bring cable.... I mean WTF?!!! I'd get fired (or not hired again) if I came unprepared, but for the video guys, it is par for the course...

    I provide one kind of feed +4 Ballanced stereo. You take that and figure out how to use it yourself or you get nothing. If your equipment effects my recording, you get cut off.

    I have yet to have a client that has complained...

  17. JoeH

    JoeH Well-Known Member

    Tom, I think you get the award for "Most prepared"...or at least "most horror stories". :cool:

    That bus driver should have been fined for what he did to your stuff, and that facility with the 220 outlet masquerading as 120 should be cited (at least) for unsafe electrical wiring. (Good god, imagine if you'd plugged your stuff INTO that outlet without checking first!!!! Someone could get seriously hurt there. At least MARK the damn outlet! Sheeesh.....)

    Seems we all have similar situations to draw from. Ben's "Vidiot" comments made me chuckle; I once did a rather important concert where the local PBS station sent a videographer to shoot the procedings (he knew EVERYTHING, of course) and we gave him a +4 line to his camera (which he of course kept trying to run into a mic level (albiet adjustable) input. He complained (of course) that he couldn't get the level low enough to have any headroom, and after the fact, the post-production company attempted to blame US for bad sound. (Hehehe...of course, they changed their tune when they had to PAY for us to run off a perfect, pristine copy of the mix so they could save their butts for the client... :)

    More and more, I see parents showing up with bigger and more complicated cameras. (I saw a dad at a recent Christmas concert we were recording, with a Canon GX1 on a tripod. I'm not kidding!) At least he didn't ask for a feed. I think I would have had the music director remove him if so; ONE of us wouldn't have been staying, that's for sure...

    It never ceases to amaze me how many silly things can happen in what we all THINK is going to be a basic recording. (CD players, extra recorders, extra soloists, musisians, etc.) At one youth choir recording , I discovered a woman in the second row with a couple of REALLY cheapo mics on a stand, with a CASSETTE recorder in her lap. Incredulous, I asked her what she was doing. (it was too silly to get REALLY mad). She informed me she was the choirs "Documentary" recorder, and while she KNEW the cassettes were crap, it was her "Job" to record all the stuff they performed, even during the times I was hired to do it properly. I just smiled and helped her find an AC outlet.

    I'm hired to record a "Solo Cellist" tomorrow....and instead of a solo recitial, it turns out it's a MULTIMEDIA event (at least I have a union crew with full house support) and there will be: DVD player (with FOUR outputs), narration mic, and a clip on mic on the cello. It's two 48 minute sets with a 20 minute intermission. Woof!!!!

    So instead of just a solo mic and some omni's, I'll be bringing my full stagebox snake with splitters & other goodies. (Good thing I checked on this ahead of time!)

    I'm not complaining; the only thing to expect is the unexpected.
  18. Cucco

    Cucco Distinguished Member

    Yeah, I've gotta give it up for Saint Tom. :lol:

    If some schmuck in the audience with a camcorder asked if they could take a feed from my board, I would politely suggest that they purchase one of my CDs from the concert and then they can sync it after the fact.

    The show I did this last weekend was being professionally (I use this term loosely) video'ed by one of the local cable companies. The guy set up in the back, just on the other side of a wall from me and set up his *single* AKG Shortgun Shotgun mic (aimed at the back of a patron's head nonetheless). When I saw this, I chuckled out loud and offered to send a patch from my board so that he could actually have a decent sound. He agreed, but the problem was, he didn't know the first thing about patching anything. I had two sets of stereo and one mono sum output on my board available for him - we patched it everyway possible, but every time, he came over and said "I hear a loud hum." I troubleshot at the board level by plugging my HP amp into the various outputs and none of them produced this buzz. I tried to explain to the guy, "look, the board is putting out the right signal, somethings goofed up on your camera." But he kept coming over trying to get it patched. Ultimately I had to tell him that it just wasn't gonna happen.

    God Bless the Vidiots!
  19. pmolsonmus

    pmolsonmus Well-Known Member

    Great topic and great stories -

    I can only add 3 things that I ALWAYS make sure to have in my travel kits --

    1. Hard Candy
    2. Industrial strength asprin

    optional #3 - some sort of beverage for post concert reflection if it will be late
  20. Cucco

    Cucco Distinguished Member

    Here, here!

    You know, I actually bring along some mints for a couple reasons - I do get parched while recording. Plus, I recently did a job for a school band and the director is what is affectionately referred to now adays as a "hottie." Of course, by the time the recording/concert was done - my breath was fierce. Ouch!!!

    Of course, now I have to keep my wife from reading this post. 8)

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