Philip Perkins

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Everything posted by Philip Perkins

  1. The late Harvey Warnke made me a custom Nagra playback speed control to work with his TC mod of the IV-S....I need to find out what I did with it. It was how we were able to fine tune playback speed to follow film from cameras with wonky motor crystals. The thing saved a lot of asses in the late '80s and early '90s. As I recall he used a 20-turn pot to get fine enough control.
  2. There are Soundcraft U users here.....
  3. I pine for the days when I got to sit behind a cart on a stage and mix through one of my analog mixers. I loved the big-iron sound and the fine control of levels and the console EQ. I'm not getting to do that sort of work anymore, and what I do do is a lot about speed, compactness, flexibility, and did I mention speed? Small is not only good, it is vital. This model ceases being effective when the track count goes way up, either due to the complexity of the job or to meet requests for redundancy--then a console etc seems to be the way to go. Today. Soon....who knows? But even on my music work, which used to involve racks of pres, a console and racks of recorders and/or computers with drives, the need-for-speed thing has come bigly into play, and those rigs have had to be massively downsized as well to keep up.
  4. And the power draw of the console.....esp re Yamaha!
  5. CL 12(or 6) with 664 is a nice rig--with an actual mixer you night get more routing options, as well as channel EQ, and the mojo of whatever preamps are in play. But there is the extra weight / size / powering deal. It's a tossup, I think. Given a 688 instead of the 664 then I'd say the scales tip to the CL12. But if you can make your jobs work without a fader surface OR a mixer, just on the rotaries, then good on you. Simple is good. Meanwhile--HEY SD! How about that 6 fader mini surface for the 633????
  6. Nice that they pack a lot into a small rack. But Shure and Senn have had self-assigning (or "assisted assigning") systems for awhile? Usually AT stuff is at a lower price point, so this thing might mean that churches and small theatres could have this kind of tech... About that rack--the theatres I work with dance companies these days kind of count on being able to move their limited number of wireless channels from room to room as needed, so they might not go for a single 24-chan rack as a replacement to what they have.
  7. I'd recommend looking for the PortaBrace bag that was made for the 744. They have worked very well for me for many years.
  8. Most soundies I know, who are generally small-time one man band types often in smaller markets, plan to re-freq what gear they can (if the $ make sense), sell off other 600+ gear that is saleable (perhaps to overseas buyers, esp through consignment sites like Trew) and for the less-valuable but still usable stuff use it until you get run-over by a corporate buyer of the spectrum. In non-big-event use the chances of being busted are very small, the more likely scenario is that the gear will just eventually be swamped by RF from the new services in that band. This is pretty much how things went down in the 700 MHz days, only it took A LOT longer for anything real to happen re: that auction. And, yes, again, the government makes a lot of money from the auction, the FCC makes political points with big business (re: the commissioners future careers), the tech companies get even more fabulously rich, and the manufacturers of wireless equipment get a windfall of new sales for gear to replace perfectly usable but now out-of-legal-band gear. Who ends up with the short end of this stick (again)? Who do you think?
  9. I guess you'd be the 2nd....see post #6. We agree: simple is good, esp if you have a boffo boomist (or you are one yourself).
  10. It's a Nagra IV-S. You clearly see how the two channel level knobs are linked when he adjusts the levels during his bootleg concert recording. Wonderful film. The excerpt of the opera "La Wally" from this film was a minor hit record at the time. Besides being a stylish thriller it raised questions about the ownership of art and performances that are still very much in play today.
  11. Seems like a simple feature, basically an "EDL mode" where you add assigned sound/keys to a list and then you run thru the list with the push of some assigned key. I would rather it not be the spacebar....I think the spacebar should be FULL STOP (like of the EDL). But it shouldn't be a huge deal to allow custom assignment of the "GO" key.
  12. I drove a 664+cl6 from when they first came out until earlier this year. It sounded great. My major complaints, and why I sold it, were that it was too big for me as a doco-bag recorder anymore, and that even though it had a lot of inputs and features the actual monitor routing you could end up with was kind of limited (ie pre vs post fade etc) vs the later 6xx recorders. Since I originally bought the machine for more complex jobs this was a bit of a disappointment, and the 633 that replaced it delivers on that score to a much greater extent.
  13. I can see this showing up in live show riders soon....
  14. You answered your own question. They all sound great, good enough. BTW, the 633 has Dugan too (now).
  15. I have both 216 Comteks and R1A Lectros, the latter using an old UM400 (non-a) TX. They are about the same noise wise but given the same headphones the audio quality of the R1a is dramatically better.
  16. The deal with the Molefans is that they have to be in good repair and they have to not have been dropped or stored face down. On some jobs years ago I objected to one of them being wheeled right up to the talent, but that fan was the personal property of the FX guy, and he had babied it. He was right, it worked just fine. Rental fans, esp those that have spent their lives on trucks, are another story, and I've had those be very out of true and quite noisy.
  17. We did a great deal of work with combined Tx (often 2 sometimes 3) in the VHF hiband days by calculating exact cable lengths in the network and using passive T style connectors. We got very acceptable range on car-to-car work with the TX feeding a single mag-mount antenna cut to length (in the VHF days) or two of the old Lectro omni antenna groundplanes (the "spider" style ones) with cut antennas in the early UHF days (like 195s, still fixed freq). There was less RF around then but it all worked out very well numerous times, urban and rural. The takeaway is to try things out for yourself, using the givens of your particular job, esp re range. You won't win a Nobel for physics but you might get your job done cheaply and well.
  18. Here's the view from my position last night for a multicam doco shoot of a performance by Scottish fiddler Alasdair Fraser at a venue in Santa Cruz CA. Great show, crowd went nuts during the encore. The producer had wanted me to cover both doco/verite audio and music recording for the all-day shoot, but she not only listened to my concerns about that and hired a 2nd sound person (Ray Day) to do the doco stuff, she rented good cameras (HDX900), Lockits for all and let me roll my multitrack rig and deliver as files, with the cameras free and untethered to anything. Really nice change from either miles of audio/genlock/TC/video cabling or dinky-cams that can only be approximately synced. Philip Perkins
  19. Last night @ The Lab in SF. Drums sound great in that room.....
  20. Check places that sell wireless acc for live theatre and musicals etc--those folks use rigs like that.
  21. Silly question probably--but any other changes to your bag? Any new cable, adapter, or a repositioning of gear? Any changes to how you are powering everything? What happens if you disconnect everything from the 664 and run it off internal batteries, as a test? Then start reconnecting things? Does the noise ever go away? You might consider checking the ribbon cable 664>CL6 for breaks--pretty fragile. I don't doubt your other firmware issues, but don't see how they would cause this prob, esp in an analog mixer like 664....?
  22. I got to do the sound design and some of the music composition for a new ballet: "Figures of Speech" by Alonzo King / Lines Ballet (SF). A lot of work but pretty big fun--a score based on human speech: mostly endangered languages and songs in those languages. In addition to recordings from several archives, I flew in all kinds of my location sfx and ambiance recordings from over the years, and Bernie Krause himself "lent" us some great bug tracks. 56 QLab cues in a 54 minute ballet! Runs thru Sunday @ Yerba Buena Center in SF.
  23. Cool. I hope he does this! I have several Soundplant licenses, basically one for every computer I have because it is cheap and very useful and very cross-platform (ie PC Soundplants will play on a Mac etc).
  24. Fairlight had clip based FX before Audiovision? And never say never re: anything in digital world. That kind of thing is just Avid propaganda.
  25. Beyond my simple video needs, I would look more seriously at Resolve as an app for my studio if I saw some picture editors working with it (and thus realize the unified platform dream). But right now most editors I know are driving Premiere (if they aren't on Avid), and the FCPX debacle is still recent enough that I kind of think they'd need the editing aspects of Resolve to get a lot better before considering a switch, even if the color side is really good. Then there is also the critical mass issue--like for businesses to be able to get extra editors that are already up to speed on their edit app...