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Philip Perkins

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Everything posted by Philip Perkins

  1. MixPre-6 – worth it for this beginner?

    Dude--chillax. Everyone here loves or at least respects SD, and we also respect the notion of "the guy on the ground" making the best decision about what gear to use for their particular jobs. The post above is, frankly, kind of a typical reaction by a new member of the forum to people here not 100% endorsing a particular workflow or tool. Take the info given for what it is: a distillation of decades of real-world experience in every possible sort of production sound; use what works for you and do your jobs. Let us know how you go. There is no Goliath and the Valley of Elah is every job we do.
  2. MixPre-6 – worth it for this beginner?

    If you need to trigger from a DSLR or have your primary recorder also interface with a laptop then rock on. Those and some other things on that list are of very small interest to a working location dialog mixer-recordist. We have striven for decades to REMOVE cables that need to run between our recorders and the camera whenever possible--one job on a fast moving shoot will tell you why. Acting as an interface to a laptop is fine but the recorders most of us use have a lot of the capabilities of DAW apps already, without having to tether via a fragile connection like USB to a laptop? Where does the laptop go when I'm working alone and out of a bag rig? It sounds to me that the new MixPres may be perfect for what you need to do, but I they are not really up to the task of what most of us on this forum do on a daily basis. SD was very careful about what they put in and what they didn't put into those machines...they still want to sell 633s!
  3. New Aaton sweetness

    Cantaress.....oh, mais oui!
  4. MixPre-6 – worth it for this beginner?

    Mix pre is an incremental step if you intend to be an audio-for-video sync sound location recordist. What you need is a full up prod. sound machine with TC and other movie-friendly features. If you can't afford a new 633 or MAXX etc then there are used 788s around. I've seen some used MAXXs lately that seemed like good deals....
  5. Compact antenna splitter AS-122

    Cool. How much will it sell for? Well thought out.
  6. Handle for cart, 12" or so, sources?

    I'm wanting to add some lift handles to a cart, but the lip of the shelves they have to bolt to is only about 1" high. Ideally the handle would be about 12" long, and through-bolt (somehow). Has anyone found a handle like this ready-made? (I'm not much of a machinist.)
  7. James Corden drives around London in the rain with Adele, singing to playback. Well done, WAY fun. https://www.youtube.com/watch?annotation_id=annotation_3070556225&feature=iv&src_vid=O6REBmZ0NDY&v=Nck6BZga7TQ
  8. Nagra Stories Sound-men won’t ever tell

    That is more or less exactly my cart, made in the early '80s. Having new 20" rear wheels (with new positions for the axles to accommodate them) and 5" smart wheels with locks on the front make it way easier to move around--I hated the original small front wheels!! Yes the recorder shelf is exactly Nagra sized, like you I ended up making some cutouts on the edge for the Nagra IV-SL's meter. One of these carts would suit you fine Mr. Bond, keep searching!. Jon G and mine have had after-market paint jobs--to be authentic you might want to have a painted one "dipped" to take it back to the natural aluminum finish, which is how they all looked back in the day. Re gear: if the recorder is a 4.2 then a great many jobs did not have much in the way of outboard gear--as I said, maybe just a KAT-15 to turn the 3rd input into a mic input (or the 2nd input on a III). Mixers that were a bit later than Sela 2880s might include those from Interface Electronics, early Audio Developments, Nagra BM, PSC's knock off of the 4-pot Sela, the (huge) PSC 6F, the HME 4-input mixer, and bespoke and home-made mixers. Vega 66/77B type wireless, or the Swintek Mk1s, also HME wireless, with some Audio Limited and Microns too. Headphone monitoring for directors or scripty was done with wired headphones and lotsa cable, if it was done. No video of any kind. Only the cops had walkies.
  9. Handle for cart, 12" or so, sources?

  10. Is your camera department using a wireless remote focus or range-finding device?
  11. DIY Dipole antenna!

  12. Handle for cart, 12" or so, sources?

    AH--that's the term I couldn't recall: "grab bar"! Will check RV sites--thanks!!
  13. Nagra Stories Sound-men won’t ever tell

    I think Ron's version is much heavier duty, esp in the bottom plate etc. I still have one of the original 3-G Welding carts, and I've had to have the welds on the lower part of the cart remade a few times. However, it is lighter than the PSC version.
  14. Nagra Stories Sound-men won’t ever tell

    That Samuelson cart would be a worthy addition to your collection, Mr Bond--it was really tailored to the Sela Nagra combo and was kind of elegant looking. There must still be a few around in the UK...worth asking about. Skyline may have rented those horrible "pinchy carts" (I think they were made by some av equipment company), but they also commissioned 3-G Welding to make the first sort-of-mass-produced upright carts in the Evje mold, way before ASC et al started making theirs. The PSC upright cart is more or less a heavier duty better made 3-G cart, painted grey. (3-G carts were unpainted aluminum.) 3-G also made a few custom-carts for customers to-order. In the 1980s a friend of mine had them build him a one-off extra deep cart (to accommodate a Sony BVH 500 1" VTR), with extra-heavy reinforced collapsible "wing" shelves strong enough to support his terminal gear (WFM and vectorscope etc).
  15. Dpa 4061 and double bass in beach

    Way cool way good great job!
  16. Lectrosonics SNA 600 Antenna

    That is a great cheap hack.
  17. Gear rental China

    My local contact in HK found rentals for all the wireless stuff I asked for (Shure and Senn mostly) easily.
  18. Nagra Stories Sound-men won’t ever tell

    This is actually the cart that a lot of soundies used in the '70s, and was available from rental houses. Pinchy, heavy and awkward, it was why a lot of us started building our own. I saw sound mixers shooting on the street in Hollywood with these in the '60s as well.
  19. Current and near-future recording modalities

    I borrowed this picture from Mr. Sutoh Takahiro of the FB Zoom F8/F4 group. There has been some discussion here about the advisability of using a tool like the Cedar DNS2 on location: here one is in action. The juxtaposition of a $3k + NR tool and a $900 8/2 file based recorder seemed to me, and oldster, remarkable and perhaps an indication of a direction location recording is going. There have been many calls on this board for recorder makers to up their DSP enough that something like the DNS2 could be included internally--this, and other DSP-hungry audio processes now seem possible given the pace of improvement in digital electronics these days. I have the old-soundie Nagra bias when it comes to the construction and usability of location recorders, so the F8 didn't work out for me (returned it), but I still have to give it up to Zoom for packing so much into such a small box and having it sound quite good. So...if they could do that much in the F8, what's the next step, and who will take it ?
  20. Nagra Stories Sound-men won’t ever tell

    I'll have to ask Ag who made his old "tea cart". I know it was from the UK (in the '70s), it expanded/collapsed up and down and had a canvas bag made for it. It was exactly fitted to a Sela+Nagra combo with a little shelf below for etc.. Would that have been the Samuelson cart? Carts in the USA then were a little unusual then too--Jeff et al were kind of out ahead of most. Some Hollywood stages had the big "sound chariots", otherwise the Nagra (sans any accessories usually) sat on an apple box. This looks way higher tech and better made that what we had on the West Coast then--see below. I still have this thing and it still works, but it required constant repair and was very much someone's "garage project". That said I think ASC sold a lot of these back in the day...
  21. Nagra Stories Sound-men won’t ever tell

    No--these guys had carts even then: I've seen photos of these guys with their carts (Jeff might have some on his personal site--that's him in the lower pic, and Crew Chamberlain in the upper)-in these shots they are working more portable to get that particular scene. These pix are also from after the era of the Nagra III as a front-line recorder: they are both using either IV-L or 4.2 machines. At the time these pix were taken these folks were the "new generation", using new methods etc. By this time the Nagra III was being used by newbs who bought them used (like me) or by older mixers who were doing simple jobs and didn't see the need to upgrade. I used a BMII with both Nagra III and 4.2 at various times. The carts in use were often similar to the pic I attached: a folding AV cart with 2 laminated shelves and small solid wheels. Many of us had home-made carts based on hand-trucks (with added shelves etc), not so different than what people make today except much heavier and more awkward. We all oo'ed and ahh'ed when Agamemnon A brought a very cool folding cart back from a job in the UK around this time that fit his Sela+Nagra rig quite elegantly--it was way more advanced than what most of use were using.
  22. NEW: Zoom LiveTrak L-12

    Ach--I hated that system (JL Cooper was the same). I hope that's not what they did.
  23. Sony UWP vs Sennheiser G3

    Yeah--don't judge the audio of the Senn G2/3 by using the lav mic that comes with it--with a line feed or a good lav it sounds just fine.
  24. NEW: Zoom LiveTrak L-12

    I bet it works very well. Almost none of these low-cost mixers have any sort of digital input or output of the SPDIF or AES type, no external clocking ability (and with what we could call "MI-market" quality internal clocks), but with the ability to act as a recorder of at least 2 (if not all-inputs) tracks and maybe be a computer audio interface too. It is interesting to me that they did not go the iPad faders route, or the in-between QSC-style onboard touch screen+ iPad thing either. But that makes it a little easier to figure out initially I guess. But w/o motorized faders I am not clear how it can save "scenes"?
  25. Multi camera question

    An elegant skill in low repute on much of today's production. Current directors are often in love with a "no number of cameras is too many" philosophy, which means not a lot of boom usage and a whole lot of radios. Mostly I see booms handled by boom ops these days--fleet of foot and much more able to quickly dodge the changing tides of production than a Fisher-style boom. Fisher booms are wonderful but require a pretty big commitment on the part of the production to use them well.