Audio Hobo, part magician, part nice guy 
Have boom, will travel 
Adaptable 
Multitasking 
On location ADR 
Did some gear changes to keep things up to date, my fusion is headed across the pond to do some feature work!
It’s been replaced with a nomad12 unit for the larger projects.
With all the reality TV episodes that have currently been filmimg, I added 2 pairs of Sennheiser G3/100 for small lightweight camera hops so the camera operators can still be gazelles and supermen without all the sound weight 
Funny read, just sharing…
http://www.theonion.com/articles/nations-sound-engineers-gather-to-talk-about-their,27057/
A day where we give thanks to all our family, friends, clients, acquaintances, jobs, and all those things that make life possible.
Here’s to all of you, a giant Thank You for who you are, and wishing continued successes in all that you do.
This has been kicking around for a few years, but it’s great information so I thought I’d repost the text of this informational letter:
An Open Letter from your Sound Department, written by John Coffey, with help from Randy Thom, Jeff Wexler, Noah Timan, Mike Hall, John Garrett, Scott Smith, Rob Young,Mike Filosa, Wolf Seeberg,Darren Brisker, Charles Wilborn, Todd Russell, Brydon Baker, Larry Long, Glen Trew, Dave Schaaf, Charles Tomaras, Klay Anderson, Brian Shennan, Hans Hansen, David Marks, Bob Gravenor, Von Varga, Mark Steinbeck, Carl Cardin, Eric Toline, Joseph Cancila,Stu Fox, Peter Devlin, Matt Nicolay and many others.
This letter is being written by audio professionals to help directors and producers understand how good sound can be recorded on the set. We want to help you make the best film possible. For this piece, we will not discuss the topic of mixing itself, as this is the “hocus pocus” part that you trust us to do so well. We want you to have information that will enable you to evaluate what is interfering with good sound, before a hasty decision is made that can harm the quality of your film’s sound.
Received my Zaxcom Nomad recorder, I’m pulling all the parts together, testing soundly, and shortly I’ll have a digital path from the transmitter to the camera.
What does that mean? The microphone is usually an analog device, so the audio will come in as an analog signal just like it’s always been. Here’s where the fun starts!
Right at the transmitter its converted to a digital signal, backup recording is made right on the transmitter to a SD card, and simultaneously transmitted digitally over the air to the receiver connected to the Nomad.
In short, that means digitally clean audio, right from the talent to the recorder, up to 8 tracks can be recorded or 12 with my fusion.
If audio is required at the camera, I then send the audio digitally to a receiver mounted on the camera, and can either send an AES (digital) feed, or convert it back to analog depending on the cameras needs.