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Philip Perkins

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First-post-of-this-thread-redux:  the first post of this thread was re: a music/doc recording I did of Alasdair Fraser and Natalie Haas @ The Rio club in Santa Cruz CA on March 14 2009.  I'm glad to report that the film that contains some of that material: "The Groove Is Not Trivial" will premiere at the Mill Valley Film Fest on Oct. 9th.  Great credit to filmmaker Tommie Smith and capo location soundie Dan Gliech for seeing this film through--the shoot described in that 2009 post was FAR from the first for that film, the earliest being at least 2 years prior to that.  Unfortunately, this kind of lengthy shoot/post schedule is not uncommon anymore in indie docs...

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Had a shot today in an underground tunnel. Nobody had told me we'd have to wear safety helmets so I didn't bring in-ears. Still managed to wear my headphones around the helmet without bending them!

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They lit the tunnel Ballhaus style...

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But I think it looks even better like this:

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Now and then I even got to see the sky today!

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On 9/29/2016 at 7:57 PM, Rachel Cameron said:

Cool that you work with Ray Day. He's from my school, which was modeled after the SFAI program. I found him interviewed here. He turns up in the first five minutes. 

Not often enough!  Ray was the verite recordist that night @ The Rio while I recorded the music.  On that film ("The Groove Is Not Trivial") I bet there were at least 10 different soundies over the course of the project, esp in that there were so many performances recorded.

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  • 3 weeks later...

Just 4 tracks 24/96.  Two TLM103 mounted in a sort-of ORTF array for closer pair, two MK4 on tall stands parked in a wide variety of odd nooks, crannies, narrow hallways with curved walls, tall steep stairwells etc etc usually out of direct sight of the player.  On some cuts he patrolled around sets of adjoining rooms while playing.  The brief from the sponsors of the project; the curators of the David Ireland House museum and 500 Capp Street foundation, was the LP to be as much about the house as about the sax playing, so off we went.  Also heard were various brake squeaks, truck rumbles, random construction sounds from down the block and snippets of conversation from people passing by the building.   We're still mixing, but I've been encouraged to get as much of the neighborhood into the mix as I can.  Big fun for me.

 

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Phil: Very cool stuff! I've always loved what the environment brings to certain recordings. While not always pristine, it can add a certain sense "place" that is missing from many studio sessions. Wish I had the opportunity to do more of those types of recordings.

Love that you're keeping the mic'ing simple, and letting the room do what it does.

-S

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Yesterday shooting under the bridge:
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And inside the bridge:
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Inside was amazing. There is a tunnel (as you can see) which stretches over the entire span of the bridge. Above the cars are speeding along, hitting a bumper right above our location. This created the typical thumping noise. Outside it sounds mostly annoying, inside it's the most amazing sound, with a least 30 seconds of decay. Got a nice stereo ambience there

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With some little pride I present the new Racque d'Amore, here recording Fred Frith, Phill Greenlief and Rashaun Mitchell @ The Lab in SF last night.  The dandy little Dynasonics 1U8Ms finally allowed me to get my 28 tr location music rig down to 1 rack, ergo it can arrive prewired to a multicore snake connector, thus very fast up and just as fast down.  The Dynas share solo and mix buses, so the 3 act as one unit feeding the JoeCo multitrack and the 744 a 2-mix.  When I loaded up to go to this gig I kept thinking I'd forgotten something, there was so much extra room in the van!

PGFFrack.jpg

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