Philip Perkins

If you decide to make a plugin (which is how I think most post-pros would use it), please consider making a VST version so non PT and Windows users can use it!

I look forward to test driving this app, but I probably would never "batch" process any audio for NR in a movie mix. I'd want something like this to work in real time on individual tracks or clips of audio so I can hear what it is doing (or not doing) and be able to tweak what it does per clip or even per word if needed, with those tweaks being part of the mix automation. Will you make this into a real time VST plug in that can work within a DAW?

Bra back too

Wait...Sax has a ground loop when the 2 chassis touch each other? Even if interconnected with cables?

More or less level? I've had it go either way....

I did the generic rack-shelf+velcro thing and it worked fine for local transport+use. The 664 is pretty much the same footprint as the later "full width" SD recorders so I'd think that anything made for those would work for the 664 too.

You can record in 32 bit if you want but when your editor exports the film to me for audio post the audio needs to be in 24 bit.

Weather?

A TC alternative that is simple, tiny and pretty trouble free are the old Mozegear Q-series TC gens that run on AAA batteries (that are only avail used these days). Tiny, small, all day runtime, more camera friendly that the older boxes that have genlock as well as TC. I too am a fan of the old Ambients and even the Denecke SBT, but they have become an increasingly harder sell re: getting them mounted on ever-smaller cameras due to their size and weight. The SB3 is very useful for music work (ditto the older Ambients) because it can make word clock.

pm'ed you

I wonder if Denecke would send you a new loaner to try?

Mine is a Jr. with the narrower Nalpak removable top shelf. Some dirt paths are ok with the small front smart wheels, as long as you go big wheels first (ie pushing from the handlebars). You can put a shelf with a lip on the bottom too, or stick with the narrow, lighter deck and just run bungees down the sides to keep cases from falling off the lower shelf. At one point I had a 2nd Magliner Jr tricked out as a sound cart, with the wider top shelf with a lot of permanently attached stuff (mixer+recorder, power distro, undershelf for a USB interface/drives etc, Phaserite, BST75, DVD drive etc etc ) with pneumatic rears. It worked very well but was heavy enough that it needed to be ramped into a van. Eventually that was just too much and I slimmed everything down to the smaller simpler Mag Jr.

A lot of the weight of a stock Magliner Jr is the pneumatic rear wheels--the rest of the cart is pretty light. I went with the narrower plastic hard-tire wheels when I started having to fold the thing up to put it in my hatchback for every gig, and that's worked out very well. I can understand why a Magliner used by G+E or camera on high-end (big) camera-type jobs could use the weight-bearing aspect of those pneumatic wheels, but we've loaded up mine with the plastic wheels with enough gear, stands, racks, snakes and cable to do 32+channel recordings and it didn't bat an eye. Sound gear usually just isn't heavy enough to need those heavy pneumatic wheels!

You didn't ask me but they hold up pretty well. An arts org I work for has had several since the start of Covid and the haven't been able to kill them yet. They are pretty light for how tough they are. Where they flunk for me is in their non-collapseability for travel in smaller vehicles or by plane.

Any hats involved? Good place for a TX. The main thing to get across to production is that if they want to go wide and tight then there is no wiring solution for all of the talent that will work for all of the angles all of the time. You'll have to keep moving the TX to the off cam sides of the actors through the scene. Ergo....doesn't a boom or 2 sound like a faster way to go??