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Philip Perkins

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About Philip Perkins

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  • Location
    Earth
  • Interested in Sound for Picture
    Yes
  • About
    Sound of all sorts
  1. Absolute UTC-based Timecode?

    Several years ago a friend of mine used that TC as the basis of sync between recordings being made on several continents at once. I understand that it worked in the main but not without issues. Cool idea though.
  2. Nagra Stories Sound-men won’t ever tell

    They didn't record the album on a mono Nagra. The film crew making the "Let It Be" movie used the Nagra, with whatever feeds they got from the music engineers. They were able to capture some great between song dialog moments (my fave is George telling Paul that he'll play or not play on the song, like whatever) as well as the music. No mean feat with the prod sound technology of the day (Nagra III, BMII or III).
  3. Headphone

    I think the diffs between a headphone mix and a speaker mix (as JR says) are a way bigger deal than diffs in mixes done on various headphone types (above a certain quality level, esp BEATS phones). I use Sony 75 etc because I know them, have internalized what they are telling me after decades of use. I had hoped that that same consistency would apply when using the Remote audio high-noise phones (that have Sony 7506 drivers) but it's kind of not true. On location music gigs I often find myself using normal 7506 for mic placement and setup and then switch to the high-noise phones when the music starts.
  4. Np-50 Bulk Charger

    Sorry to be dim, but what equipment uses these batteries?
  5. Playback rig

    How simple can you get away with? Will you need to edit on-site (under pressure)? Do you need multitrack output? Do you need to be able to sync playback to external clock? Is production going deliver you audio files, or audio files with LTC or audio files with metadata TC or ProTools etc sessions?
  6. +1. When we were using BR all the time we decided our limit for live recordings was 24 chan per unit. More than that and we synced up another interface+laptop. All of our use was on sync type shoots, with ext clock to the interfaces, we never tried the 100's of tracks thing in BR running on internal clock. +1 also Reaper (lean and mean).
  7. NEW: Timecode Systems | UltraSync One

    I'm sorry, but this sort of issue has been solved for a long time. You jam sync two (or more) reliable TC boxes to the master recorder with good batteries, and everything stays in sync for 8+ hours. The cameras can be on the other side of a metal wall, up on a crane, in a submarine underwater or in an aircraft flying overhead--sync stays good. Why make this more complex with the addition of wifi or anything involving wireless transmission?
  8. Studiomaster digiLivE 16 - 12volt DC input mixer

    I understand how you feel, but the guts of a mixer like the one being discussed here are in many mixers of different shapes and brands and come from the same factories in China. So if you have some familiarity with a few you probably know the drill with many more. I've seen plenty of bad words about 01v96 consoles, but the good outweighed the bad for most professional users needing that deep a box, going back many years now. Many of us who have been doing location work for a long time understand how difficult it is to make a high-fidelity, versatile, rugged, relatively small mixer that will work on DC, let alone only 12VDC, so we are a little skeptical. If you decide to get one of these and do some work with it please report back. It would be good for everyone if it turned out to be a great box.
  9. Why won't my 633 jam TC to Alexa Mini

    The 1-way cables I use the most are stock Ambient items (Lemo-Lemo).
  10. Studiomaster digiLivE 16 - 12volt DC input mixer

    Somebody somewhere is mixing a lowbudg movie with this thing. I hope the iPad deal doesn't bag them (network, update, thermal etc issues) and that the headroom is ok. A movie done on one of these would be a good lesson in why higher-end gear is the way it is and costs what it costs. In the posts above there were a few digs @ QSC re TouchMix mixers. I have to say that their support has been great given such a cheap device (they answer their phone, for starters), they keep working on the firmware and show up on their Facebook group to answer questions. As a mixer to do a real active mix on it blows (one fader at a time on an onboard screen, with outboard tablets+phones too if you want), but as a utility mixer for a band, for AV etc etc it's pretty great. Good sound, very deep routing, good FX, scene memory, can record full MT spread @ full bandwidth to a USB stick, no bigger or heavier than a normal laptop. And CHEAP.
  11. Why won't my 633 jam TC to Alexa Mini

    Moze, Denecke, Ambient, Tenta all playing fine with Mini here. I repeat--if you have an issue, find a camera rental house, make nice and do some tests.
  12. “Upgrading” Wires

    Most didn't really care or want to know about techno stuff, in my experience, as long as they had confidence in you, the soundie, making them sound good. The few that have been interested were usually also VO guys, who had their own mini studios and thus owned gear themselves. I have found that actors with good, well trained voices sound good on almost any mic....they just are sometimes a bit better on one or another (in the few instances when there is time to try different mics) and with lavs exactly where you mount the mic and how many layers of what sort of fabric they are hidden under prob makes of a difference, often, than the mic choice.
  13. There was some chatter years ago when SD cards started to become more available about using them in adapters in 7xx Sound Devices machines. What I recall was that doing this was less reliable than using the correct (in that case CF) card. If the Tascam isn't fussy about CF cards then I'd recommend just having a couple for it (and only it) in the kit. When you do decide to sell it they'll be a value add for the buyer.
  14. “Upgrading” Wires

    Ayup. The diff is sometimes really astonishing.
  15. M/S mic for documentaries

    The Neumann RSMs are kind of too big, too heavy, to sensitive to handling and wind to be a good choice on a camera. Maybe one of the lighter AT one-point mics? (825)
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