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Philip Perkins

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About Philip Perkins

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  • Birthday 01/01/1

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  • Location
    Earth
  • About
    Sound of all sorts
  • Interested in Sound for Picture
    Yes

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  1. I wonder if that thing is code somewhere?
  2. 1: Neve audio phase meter. Removed from a '70s Neve console and boxed up by someone with a lot of time on their hands, bought from Dan Alexander many years ago. This has been a great way to keep composers delivering stereo music files to me honest about radical signal processing that could get us busted by PBS (etc) Tech Eval. Sits where I can see it all the time when mixing. 2: Moog Source: Left over from my time in The Residents, was used on the "Mole" tours. All the usual Moog crunchy goodness but with a 16-slot patch memory and 2 small sequencers. This one still saves its patches to an audio cassette. 3: Korg MS20: Once owned by the keyboard virtuoso "Blue" Gene Tyranny. Super flexible patch-over synth with an audio-to-CV convertor that came in very handy many many times over the years. Great fast noise-maker. 4: My squadron of Schoeps SDC mics, for music recording mostly. Sound great on anything, first mics out of the box almost always, esp when I have little or no time for mic comparisons (most of my music gigs). You know when they look like.
  3. More extra channels and deeper routing possibilities, vs much heavier, more DC. The meter on the 302 isn't a lot smaller than that of the 442. The only reason I would not want to wire the 302 into a cart is that it is so handy to have around loose!
  4. I used to feed audio into the return of an SD 302 mixer, and use its meters, esp with my PSC M6 (which had very NON-daylight or dark-room readable meters). I also got a couple more mic pres that way too. Great Dorrough-esque meters.
  5. Wingman>iPad? I had Dorroughs in my studio for years, not what I'd call location-rugged...and BIG.
  6. The main thing with monitoring for translation to other venues or situations is your experience doing that. You can use any sort of decent speaker you want, but need to get some experience hearing how the decisions you make on your system sound on other systems, esp. theatres and dub stages. No monitor system will do this for you on its own.
  7. Worth it if it keeps the peace. I usually don't have any help that needs monitoring gear so the only R1as working are for the Premium Class folks. Do you mean PR72b? Like, the ones with fixed plug-in crystals? If so, yeah, that's why I sold all mine (32+4 TX)--too hard to replace, esp. the crystals.
  8. You put those Line Audio mics in front of good players and things will be just fine!
  9. These mics have been very popular over on the Gearslutz location music forum for many years. I've heard some really good demos done with the CM3 omnis. They seem like a really good value, and if I needed a lot more good mics all of a sudden I might go this way.
  10. I've done a lot of XY with a Rycote Ball windscreen, 2 MK41s and KC5 cables, on a short boom. Dialog, as well as a lot of fast ambiance, SFX and single-pair music recording. It worked really well, was very convenient, the capsules were protected all the time and I could boom shots with actors normally, with just the extra hassle of the 2 KC5 cables running down the boom. For music ORTF-on-a-stand rigs (like a main pair) the K+M bars are fine, relatively light=good on a lightweight very portable stand like Shure S15.
  11. We get it--we're all about DIY here, when it's possible. Modding mics isn't much of a thing in the movie-sound world, but it is common in the music sector. A non-stock version of a name brand mic is generally worth less than it was before the mod, but if the result works for your recording needs and you are ok with the risk then rock on.
  12. As location sound freelancers, esp those of us who mostly work short jobs, having the gear prepped and ready to go is kind of an article of faith. We've all had last minute calls for work where we got to ride in like the cavalry and save the day, and maybe acquire a new client. Yesterday I spent some little time going through my stuff (more than I realized) and taking all the batteries out of everything. Seeing my gear in this decidedly UNREADY state bummed me out. I know I needed to do this, if only to save a lot of $ in slowly draining batteries, but the process was strangely unpleasant and made me nervous: "shit! I'm not ready!!!" etc.. Here's hoping for a tsunami of work when the world returns to itself.
  13. Besides the complex hassles of finding enough toilet paper and Tylenol for the apocalypse, I'm working (remotely) with some of the folks from the dance co I'm the sound designer of to bring the company's work to its audience via the web. Not at all what we want to be doing--those folks have always been all about in-person audience-artist interaction, so this is very hard for them. But I keep telling them we have to do this or the audience they've built over decades will scatter and blow away. So, a WHOLE lot of new technologies for me to force myself to learn....while waiting for "senior hours" @ the markets.
  14. Why PAY it today when you can pay it tommorrow?
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