[quote="RPalermo"][quote="Dan Berger"][quote="EricG"]I don't want to hear any anecdotal evidence about TD X who had one bad show for Client Y and now he's homeless.[/quote] Ain't that the truth... there's a TD X here which EVERY show for client Y, B, G, H, L, Q, etc. is bad (so I hear), and he still gets work... of course that's when there is NO ONE available, not even to fly in. I've had producers & directors beg me to work when they see his name on the crew sheet. --- Dan[/quote] Gee Dan, I didn't take the title of this thread personally... Until NOW. Ross[/quote] Hey Ross! A fellow TD in the area who reads these... ummmm... well, you're not the only one who reads these. Take care! --- Dan

I know that the Chicago Whitesox and the Chicago Bears Have Ross Synergy Switchers you might want to give them a call/email. Not sure how far a drive but it is in your region and if they need someone that would be a good place to get started.

just saw this, but I am in WI. Northcentral WI to be exact. I am trying to go through some olds post and scrounge up all the Ross users so I keep track in a group email or something.

[quote="Unger"]I think the classic argument here is more so between Remote (Sports TD's) and Studio TD's. Bottom line....when you have a switcher in front of you day after day,you will eventually become freinds with it. On the other hand, when you've got 6 hours to get a show built, you dont want to worry about what your punching on. I punched on a Ross Synergy for 2 years in a studio environment before I moved onto remotes where I found myself in front of GV 3000/4k, Kalypso's and the Sony 8k's. These switchers just out perform the Ross in so many ways and this is coming from a former Ross Td. The Ross (as well as the KAYAK) in a remote situation with a 5 hour window to set up, kinda scares me. So if I do get a call to switch a MLB,NBA,NFL,NCAA, etc...game that has a Ross...consider it yours. :) Remember, your only good as your last show in this business and I dont want the switcher to be the deciding factor.[/quote] Just a quick question about what Synergy? Was it the SD or MD/X model? Also have you used a Vision yet? Again I have and can tell you that in a Truck here in Canada which I have done NHL Hockey and did the World Ringette Championship split feed (don't Laugh turns out it is very popular). I had about the same amount of time--6 hours--to set for these and were able to get all of the effects and elements setup and run through. I have watched plenty of the Regional and Network Shows for the sports/levels you mention and can tell you that I am sure I can accomplish them on a Ross switcher--true I would much rather it be a Vision than a Synergy as there is more than just cosmetics. Ross is always updating the system software and features like just recently the Macros have been upgraded yet again and I can now run multiple Macros and even multiple embedded macros all at the same time. This has made huge changes in the approach to some of the shows I have done. Anyway I just don't think that anyone should count out any switcher because a "few" TDs that are Very good at there job have not taken the time to spend a few hours on a switcher they don't already know. Don't mean to be rude but at one time you had to learn the Kalypso or the 8000. They have not been around since the dawn of TV. By the way I just played with a DD35 4ME panel connected to a Kayak 4MLE frame for a couple of hours and have to say that the fact they easily transfered the interface to this panel is kinda cool. Not a big fan of the faders and they only had 1DPM per ME no Spektra or Kurl. It was very easy for me to figure out how to do the basics and use the EMEM system. Even made a couple of Macros so I can say that Ross switchers and Grass/Thomson switchers on a lot of the primary functions are not that much different. Les

[quote="EricG"][quote="Unger"]Remember, your only good as your last show in this business[/quote] Only if you have just one client, and that show was your first show for them. And I don't want to hear any anecdotal evidence about TD X who had one bad show for Client Y and now he's homeless. Because that would be bullshit. quick spelling nazi note: it's you're, not your.[/quote] Take it easy there E...I'm just saying it sucks if you have to walk away from a show knowing you could have done better had it been a switcher "you're" (happy now spelling king) familiar with. The clients rarely know what you're punching on nor do they care. They just want the same show night after night, and if you had a bad show because you dont know the switcher...they're still gonna say YOU sucked...not the switcher. Avoid the switcher if you think its gonna be a rough ride...that's all im trying to say here.

[quote="Big O"]Damn Ross, is that true? I told you sniffing glue was bad.[/quote] Hey Oleg, I thought you said "Getting the flu was bad". Whoops. How's life in the Southland? Are there many Ross switchers down there?

[quote="RPalermo"]Gee Dan, I didn't take the title of this thread personally... Until NOW. Ross[/quote] Damn Ross, is that true? I told you sniffing glue was bad.

Hey a Ross/Sony TD here...always looking for new clients...

[quote="Dan Berger"][quote="EricG"]I don't want to hear any anecdotal evidence about TD X who had one bad show for Client Y and now he's homeless.[/quote] Ain't that the truth... there's a TD X here which EVERY show for client Y, B, G, H, L, Q, etc. is bad (so I hear), and he still gets work... of course that's when there is NO ONE available, not even to fly in. I've had producers & directors beg me to work when they see his name on the crew sheet. --- Dan[/quote] Gee Dan, I didn't take the title of this thread personally... Until NOW. Ross

[quote="EricG"]I don't want to hear any anecdotal evidence about TD X who had one bad show for Client Y and now he's homeless.[/quote] Ain't that the truth... there's a TD X here which EVERY show for client Y, B, G, H, L, Q, etc. is bad (so I hear), and he still gets work... of course that's when there is NO ONE available, not even to fly in. I've had producers & directors beg me to work when they see his name on the crew sheet. --- Dan

[quote="Unger"]Remember, your only good as your last show in this business[/quote] Only if you have just one client, and that show was your first show for them. And I don't want to hear any anecdotal evidence about TD X who had one bad show for Client Y and now he's homeless. Because that would be bullshit. quick spelling nazi note: it's you're, not your.

I think the classic argument here is more so between Remote (Sports TD's) and Studio TD's. Bottom line....when you have a switcher in front of you day after day,you will eventually become freinds with it. On the other hand, when you've got 6 hours to get a show built, you dont want to worry about what your punching on. I punched on a Ross Synergy for 2 years in a studio environment before I moved onto remotes where I found myself in front of GV 3000/4k, Kalypso's and the Sony 8k's. These switchers just out perform the Ross in so many ways and this is coming from a former Ross Td. The Ross (as well as the KAYAK) in a remote situation with a 5 hour window to set up, kinda scares me. So if I do get a call to switch a MLB,NBA,NFL,NCAA, etc...game that has a Ross...consider it yours. :) Remember, your only good as your last show in this business and I dont want the switcher to be the deciding factor.

I like the upside of this whole conversation - that we can all jack up our rates by 20-30% and no one will bat an eye, because, hey, there's not enough TDs out there!

[quote="XLNTeditor"]It's about time somebody said that. It's soooo obvious that if something is out there in large numbers then it must be the best. I mean, there are thousands of McDonalds restaurants and millions of people eat there so they must be the best place to eat - or is it KFC, I forget. The point is, why bother trying any other restaurant if McDonalds is the best. I'm not saying that Ross is the best switcher out there. There is no perfect switcher. But why should anyone put on blinders and not even try another brand of switcher?! You may find you like that meal better and then you can broaden your palate. Irv[/quote] Sorry Irv, I never said that any switcher is "The Best" (I have my personal "best"). How would you like to walk into a job where you have 6 hours to set-up a show, which includes a 1 hour lunch + fax + pre-pro + etc., and not know a thing about the thing you have sitting in front of you, and no one else around you knows a thing about it either (except the EIC who is busy setting up the rest of the truck, and only has about 15-20 mins for you)? Not a very fun day at work. Now I've heard &/or seen a lot about a lot of switchers, and I know there's a lot of good ones out there that aren't a Kalypso, or a Sony, but again, your pool of workers on those switchers is so small, that you can't just call "anybody" to work. So for a production crew you end up with a very talented TD who is frustrated the entire day, and only gets a few things to work for you, or no TD at all. Now once there are enough people who get the proper training on the Ross, the Kahuna, or whatever else there is out there, I highly suggest not putting them in a truck. Now that of course is a catch-22, how do you get people to know the equipment without having them out there? Stations 1st, but hey are going with Ignite... hmmmm... problem there. Sony & GVG (with the Kalypso, not the Kayak) did well, ask them. Where's the next pool of talented TD's coming from, & what switchers do they know? --- Dan P.S. You will rarely see me in a McD's, or a BK, or a KFC, I have enough experience to tell me otherwise.

[quote="Dan Berger"]Les, point well taken, you know the Ross, & you think it is a great switcher... how many others are out there, so far 2... Now how many around here can switch on a GVG 3/4000, Kalypso, (or Kayak), or Sony 8000? Your pool of people is MUCH larger, and if I'm installing a piece of equipment in a truck where the people working on it are freelancers, aren't I going to want as many people who know the equipment as possible, not just 1 or 2? If I'm installing at a station, where people work at the same place 5 days a week on the same piece of equipment, it's not nearly as important. Right? --- Dan[/quote] It's about time somebody said that. It's soooo obvious that if something is out there in large numbers then it must be the best. I mean, there are thousands of McDonalds restaurants and millions of people eat there so they must be the best place to eat - or is it KFC, I forget. The point is, why bother trying any other restaurant if McDonalds is the best. I'm not saying that Ross is the best switcher out there. There is no perfect switcher. But why should anyone put on blinders and not even try another brand of switcher?! You may find you like that meal better and then you can broaden your palate. Irv

[quote="Les"]Everyone claims that there is a shortage of TDs but I just think there is no easy way for TDs to sign up for a shot at it. I know I got lucky and had to "volunteer" and shadow before I ever got to do it. Maybe that is the problem no one wants to say you have have to work for free for a few times until we feel you can step in and take over. Les[/quote] I agree, I have no idea who to talk to about this. If anyone wants a shadow in the New England area I'm more than willing.

[quote="Dan Berger"]Les, point well taken, you know the Ross, & you think it is a great switcher... how many others are out there, so far 2... Now how many around here can switch on a GVG 3/4000, Kalypso, (or Kayak), or Sony 8000? Your pool of people is MUCH larger, and if I'm installing a piece of equipment in a truck where the people working on it are freelancers, aren't I going to want as many people who know the equipment as possible, not just 1 or 2? If I'm installing at a station, where people work at the same place 5 days a week on the same piece of equipment, it's not nearly as important. Right? --- Dan[/quote] My point was not that there are not a lot of people that don't know Ross switchers. It is that I am sick of having people belittle me and others by making those kinds of statements. Now as for using a switcher--The Ross Switcher is closer to a 3/4k than a Kayak is. I am not sure that you would have a hard time finding people to use them since they are highly used in the Mid thru upper Market Tv Stations. There are plenty of TDs out there that want to get into the sports world. Everyone claims that there is a shortage of TDs but I just think there is no easy way for TDs to sign up for a shot at it. I know I got lucky and had to "volunteer" and shadow before I ever got to do it. Maybe that is the problem no one wants to say you have have to work for free for a few times until we feel you can step in and take over. Les

ai21 where are you located? region wise that is. I can try to pull out a few locations of Ross Switchers for you that I have seen/heard about. Any time I come across one I try to keep track of it in a Database. Every once in a while I will drop them a call to let them know I am available to help out.

[quote="ai21"]And has anyone heard of anyone working on the infamous Clear Channel HD Mobile unit? It was in Broadcast Engineering. Google it or go to the Ross site.[/quote] Here's a link to the Broadcast Engineering article: I did a show in this truck a few years ago -- a low stress equestrian event that we were line-cutting, and ISO recording for post. The layout is decent, and it was easy for me to get acclimated to the Ross ... unlike the picture on the BE page, I was using the Synergy 4 panel, not the Synergy 1. The Ross guys came to the event (it was in Upstate NY) to check-out the switcher, as this truck is based out of Arkansas and they didn't get to see it much. On the flip-side (if I'm remembering correctly), I think that MVP (formerly WIC) had a truck with a Ross in it, and while popular in Canada, American clients demanded that the GVG-3000 be put back in. Matt

Les, point well taken, you know the Ross, & you think it is a great switcher... how many others are out there, so far 2... Now how many around here can switch on a GVG 3/4000, Kalypso, (or Kayak), or Sony 8000? Your pool of people is MUCH larger, and if I'm installing a piece of equipment in a truck where the people working on it are freelancers, aren't I going to want as many people who know the equipment as possible, not just 1 or 2? If I'm installing at a station, where people work at the same place 5 days a week on the same piece of equipment, it's not nearly as important. Right? --- Dan

Hey Les, I too work on a Ross everyday at work and I love it for my purposes. Its perfect for me to learn on. Easy switcher to pick up and progress on. Synergy 2.5. Do you know of places that have Ross boards, like trucks and such? And has anyone heard of anyone working on the infamous Clear Channel HD Mobile unit? It was in Broadcast Engineering. Google it or go to the Ross site. Les, to echo your sentiment, let me know please because if a Ross job falls your way and you arent available Id love to be someone you could refer them to. AI

Hey Dan, Not sure why you would turn down work, but if you do could you let me know. I would be glad to work on a truck with a Ross switcher. I have done a couple of different Ross installations on trucks and stadiums. If you don't want the work I will take it. The Vision is a solid switcher and has 4 Keyers in the PGM/PST M/E. Both places had AuxKeys so I was able to insert extra Keyers where needed. One site I had to feed a French Truck from the main Truck. They wanted all of the graphics except for the animations to be dropped. I used a CleanFeed through an AuxKey to take care of it. When I feed the onset monitor and animation transitions on it I use an AuxKey so I don't burn an M/E. I may have all of my experience on Ross switchers but I would not count them out just cause they don't do things just like your Kalypso.

The last time that I was in a position to really compare and purchase a switcher was back in 2005, when at my last station, we looked at the Kalypso Duo, the Sony DVS-9000, and the Ross Synergy 4 (the Vision wasn't available yet). In terms of cost, the Ross was about $150,000, the Kalypso was about $300,000, and the Sony was the highest bidder (don't remember the figure). That said, there are many different configurations available, and we went with a fully-loaded configuration for terms of comparison. We decided on the Kalypso, in part, due to the entire plant being upgraded, and Grass Valley offering a very good deal for all of the equipment needing to be upgraded (involving news editing and playout, Master Control, and production control). Operationally, the Director/TDs decided against the Ross early on, with the biggest strike being limited keying power (2 per ME). I'm not sure if Ross has more keyers available on the Vision or not. The Sony and the Kalypso had many of the same features that were important to us at the time ... 4 keyers per ME, a clip-capable internal still-store, an upgrade path to HD, and the ability NOT TO TALK TO AUTOMATION. :-) Again, the Kahuna is a great option now, too, and I'm not sure why we never looked at it back then. Ross (in my experience) has been very good with support, and has been very responsive. At the same time, with T/GV backing-off of the Kalypso, and Sony increasing in market-share, I'd take a good, long look at the MVS-8000G. Lots of options, scalable to what you need it to be (matrix-wise, and footprint-wise), and becoming easier and easier for a TD to hop into. Sony has been very responsive to TD input, is very proactive, and is serious about the success and development of the MVS/DVS line of switchers. All in all, there is a lot of good advice in this forum and this thread. I think the biggest things to keep in mind are how you are going to use your switcher, who are you going to get to run it, and what is your future growth expected to be? Best of luck, Matt

[quote="Rick Edwards"][quote="kschneider"][quote="Rick Edwards"]True, but (please correct me if I'm wrong) i don't think there's any kind of TRUE split M/E functionality like the 8000 has (two transition generators, unlimited key assignments, separate timeline, memory, etc) RE[/quote] Partially true. Single transition generator & timeline but it does have separate memory and unlimited key assignments. Actually, if you need to do separate animated transitions on the main and split outputs, Kahuna can do that too. Cheers, -= Ken =-[/quote] Not what I use it for. I use it to do all the transitions (including DVE effects) in LCD monitors on the set without having to give up any M/Es. But it works just like an M/E. No special anything or menus to have to mess with. No funny aux buses either. I also feed back Sony's SUB M/E into the MAIN M/E all the time. then on complex effects I can layer either SUB or MAIN into each other. Then when I recall another effect, it re-assigns all the key assignments, program outs, etc automatically. Very cool. Wouldn't want to switch a show without it. RE[/quote] Yep. Sounds very close to Kahuna's capabilities. I can do separate Resizer Control plus separate 3D DVE effects on the MAIN and SUB for monitor feeds or dual feeds without additional M/Es. Kahuna can do it without Aux Buses too. Kahuna can feed the SUB or MAIN into each other. A simple GMEM recall can re-assign key assignments, program outputs, etc., even change the video standard and format of up to 80 inputs automatically. I wouldn't want to do without those capabilities either. You should get a demo of Kahuna sometime to see what it really can do. Cheers, -= Ken =-

[quote="Joey"][quote="Rick Edwards"][quote="Joey"] Good luck with the convoluted internal machine control on the Sony MVS 8000.[/quote] See, I disagree..... What could possibly be simpler than the jog/shuttle knob that's included with the switcher? You go to an empty effect, jog/shuttle to the timecode and press "SET IN" on the panel. How is that convoluted?[/quote] Explain, since its been awhile- and I as an operator am not yet proficient enough on a Sony MVS 8000, the process of the rewind action and the many steps it takes to learn a particular spot box clip into an effect. If you recall a register that calls up spot box clips on channels 1& 2- pauses then waits for the operator to run the timeline that has a key frame that sends a clip 1/2 play command. Can you, for example, several key frames later on the same timeline cue up two different spot box clips on 1/2 and then after a timeline user pause play those clips with a key frame play command. Also while your in this effect that is cueing and playing clips on the Program/PST DSK Bus is it possible to go locally to ME1 and call up different clips on spot box 3&4 and play those without altering spot box 1&2 or the PGM/PST timeline? And to reply to Rick Tugman regarding the software as cumbersome on older Philips switchers that may have been caused because the panel is way too flexible (especially the UPK -user programmable keys) there are a lot of features that make DD-35/X-TEN switchers very powerful. The ability to access the command set and do very specific switcher functions that don't tie up, for example, the entire ME in a timeline are useful, the DEFINE MEMO page enabling you to select the parts of the switcher you want to effect. Also the ability to recall DVEous, AUX BUSSES and DDR locally in an ME timeline separate from the master timeline are useful. If you compare a DD-35's functionality and capabilities to a grass 3000/4000 or Sony DVS-7000 I think an operator would find the DD-35 more powerful. But, of course, there are good features in Sony switchers, Grass Valley Kalypso etc. As an operator it is important to learn as much as possible about each switcher so you can make better conclusions about which positive or negative features each posses.[/quote] Rewind action is a way that doesn't use KF #1 to "cue-up" the clip. However, in user setup you can turn this feature off and have it work exactly the way it sounds like you want to.... where KF #1 is the CUE and you put a pause, then KF #2 is the START command. But you can then go further and have additional KFs to cue up and play DIFFERENT clips or timecodes, all without having to learn P-Bus. And with the new (well, last year) jog/shuttle module for the panel, there is a button called TIMELINE. This allows you to simply mark new IN/OUT time cues from the panel rather than having to type them in the menu. That's the cool thing about the Sony operating system. Every single region in the switcher is completely independent from every other region. So if you were using Spotbox 1&2 on an effect, yes you can cue them up, have them run and while they're running call up an effect on spotbox 3&4 without affecting 1&2. with the Aux Bus stuff you're taking about above, same thing. One region has nothing to do with another. Aux buses can be called up while another KF effect is running. In fact, on a Sony, you can BUILD new KFs on a completely different timeline while other timelines are running -- all live. Regards, RE

[quote="Rick Edwards"][quote="Joey"][quote="Rick Tugman"]Buy the Sony - it very similar to a Kalypso in some respects, but the learning curve would be easier for most Kalypso TDs. Whatever you do, do not buy or get talked into a Kayak. The software that runs it is cumbersome and not user friendly, as it is based on the old Philips switchers that are no longer sold in this country.[/quote] Good luck with the convoluted internal machine control on the Sony MVS 8000.[/quote] See, I disagree..... What could possibly be simpler than the jog/shuttle knob that's included with the switcher? You go to an empty effect, jog/shuttle to the timecode and press "SET IN" on the panel. How is that convoluted?[/quote] Explain, since its been awhile- and I as an operator am not yet proficient enough on a Sony MVS 8000, the process of the rewind action and the many steps it takes to learn a particular spot box clip into an effect. If you recall a register that calls up spot box clips on channels 1& 2- pauses then waits for the operator to run the timeline that has a key frame that sends a clip 1/2 play command. Can you, for example, several key frames later on the same timeline cue up two different spot box clips on 1/2 and then after a timeline user pause play those clips with a key frame play command. Also while your in this effect that is cueing and playing clips on the Program/PST DSK Bus is it possible to go locally to ME1 and call up different clips on spot box 3&4 and play those without altering spot box 1&2 or the PGM/PST timeline? And to reply to Rick Tugman regarding the software as cumbersome on older Philips switchers that may have been caused because the panel is way too flexible (especially the UPK -user programmable keys) there are a lot of features that make DD-35/X-TEN switchers very powerful. The ability to access the command set and do very specific switcher functions that don't tie up, for example, the entire ME in a timeline are useful, the DEFINE MEMO page enabling you to select the parts of the switcher you want to effect. Also the ability to recall DVEous, AUX BUSSES and DDR locally in an ME timeline separate from the master timeline are useful. If you compare a DD-35's functionality and capabilities to a grass 3000/4000 or Sony DVS-7000 I think an operator would find the DD-35 more powerful. But, of course, there are good features in Sony switchers, Grass Valley Kalypso etc. As an operator it is important to learn as much as possible about each switcher so you can make better conclusions about which positive or negative features each posses.

[quote="Joey"][quote="Rick Tugman"]Buy the Sony - it very similar to a Kalypso in some respects, but the learning curve would be easier for most Kalypso TDs. Whatever you do, do not buy or get talked into a Kayak. The software that runs it is cumbersome and not user friendly, as it is based on the old Philips switchers that are no longer sold in this country.[/quote] Good luck with the convoluted internal machine control on the Sony MVS 8000.[/quote] See, I disagree..... What could possibly be simpler than the jog/shuttle knob that's included with the switcher? You go to an empty effect, jog/shuttle to the timecode and press "SET IN" on the panel. How is that convoluted?

[quote="kschneider"][quote="Rick Edwards"][quote="kschneider"]A 3 M/E Kahuna would easily fit into that space. Cheers, -= Ken =-[/quote] True, but (please correct me if I'm wrong) i don't think there's any kind of TRUE split M/E functionality like the 8000 has (two transition generators, unlimited key assignments, separate timeline, memory, etc) RE[/quote] Partially true. Single transition generator & timeline but it does have separate memory and unlimited key assignments. Actually, if you need to do separate animated transitions on the main and split outputs, Kahuna can do that too. Cheers, -= Ken =-[/quote] Not what I use it for. I use it to do all the transitions (including DVE effects) in LCD monitors on the set without having to give up any M/Es. But it works just like an M/E. No special anything or menus to have to mess with. No funny aux buses either. I also feed back Sony's SUB M/E into the MAIN M/E all the time. then on complex effects I can layer either SUB or MAIN into each other. Then when I recall another effect, it re-assigns all the key assignments, program outs, etc automatically. Very cool. Wouldn't want to switch a show without it. RE

[quote="Rick Tugman"]Buy the Sony - it very similar to a Kalypso in some respects, but the learning curve would be easier for most Kalypso TDs. Whatever you do, do not buy or get talked into a Kayak. The software that runs it is cumbersome and not user friendly, as it is based on the old Philips switchers that are no longer sold in this country.[/quote] Good luck with the convoluted internal machine control on the Sony MVS 8000.

[quote="Rick Edwards"][quote="kschneider"]A 3 M/E Kahuna would easily fit into that space. Cheers, -= Ken =-[/quote] True, but (please correct me if I'm wrong) i don't think there's any kind of TRUE split M/E functionality like the 8000 has (two transition generators, unlimited key assignments, separate timeline, memory, etc) RE[/quote] Partially true. Single transition generator & timeline but it does have separate memory and unlimited key assignments. Actually, if you need to do separate animated transitions on the main and split outputs, Kahuna can do that too. Cheers, -= Ken =-

[quote="kschneider"]A 3 M/E Kahuna would easily fit into that space. Cheers, -= Ken =-[/quote] True, but (please correct me if I'm wrong) i don't think there's any kind of TRUE split M/E functionality like the 8000 has (two transition generators, unlimited key assignments, separate timeline, memory, etc) RE

A 3 M/E Kahuna would easily fit into that space. Cheers, -= Ken =-

One thing that may save cost and space it to get maybe a 3 ME- version, if you buy the multi pgm 2 option you still have more then those 3 ME's. Like was mentioned I think a lot has to do with how this truck will be used.

I forgot to mention that the control panel size is an issue. The truck is in Puerto Rico and you can see the pix at and thanks for all the feed back, it is very helpful.

The real question is what does your friend want to do with the truck? If he's gunning for the ESPN/FOX show, then the choice is made for you; Kalypso. As Mr. Garvin and friends are learning with the Kayaks, in sports the Kalypso is king. Yes, both of the 'A' level trucks for NBC and CBS use Sonys but that was a client driven choice, not a truck vendor choice. If he wants to produce his own shows and can afford a Sony, it's a fantastic switcher. From an engineering standpoint they are incredible, head an shoulders above the Kalypso. If he wants something reliable to cut a show on then the Ross is a very viable choice, but be forewarned that most 'sports TDs' are going to be unfamiliar with it. And at the risk of getting my membership in this forum revoked, they can be a persnickety bunch....

I don't know a single truck TD, myself included, that would ever take a job on a Ross switcher. --- Dan

[quote="Brian Ford"]How do the ross and sony compare in terms of pricing?[/quote] Sony is lowering their prices considerably, they seem to be trying to recover market share. Technically the switcher has great specs and features. I know that it is being used in a lot of entertainment trucks. The Ross is MUCH cheaper than either GVG or Sony and the bit of tech support I have required for a Synergy 100 has been great and on time. GVG is becoming more troublesome and delayed as to support and knowledgeable answers. So, to answer your question, Sony is mid-price and Ross is basement sale-price.

This may sound silly, but asking TDs about the learning curve on the Ross and Sony may not be the best idea for someone designing a truck. Call a crewer at WIC/MVP see how easy it is to find a Ross capable TD. Call any of the crewers that have dealt with Juntenan's old Sony 8k, truck or NMT's HD6. You'll get the straightest answer their about learning curve, or more importantly willingness of GVG proficient TDs to even touch one of those. The Mobile Television Group made the mistake of going with Kayaks for their Big Ten Network trucks, and they've given up on finding quality people to work those trucks, even going so far as to say, "No experience necessary." Though coming from a 250 I understand the dilema the budget restraints put you in.

How do the ross and sony compare in terms of pricing?

Buy the Sony - it very similar to a Kalypso in some respects, but the learning curve would be easier for most Kalypso TDs. Whatever you do, do not buy or get talked into a Kayak. The software that runs it is cumbersome and not user friendly, as it is based on the old Philips switchers that are no longer sold in this country.