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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. Thanks--another indispensable tool from Bouke!
  2. About time! I could have used this for the last 35 years!! How about a Lectro version?
  3. They are asking you to commit to a dicey setup with no good escape path if there is a problem created by lighting during the shoot. I like the idea of converting to either line level or Dante etc before the cables enter "the tube"....hopefully production can throw some money at this issue.
  4. Yow that's alotta delay! No small delay I know of will do that much--3 sec is at the limit of most cheap old Ebay studio boxes, if they can do that! The Sescoms worked really well for me for delays up to 300ms, even when I was having to chase the delay value around due to different network latencies for different participants in a multiscreen show with "live" action. The DIT monitor rig really 3 seconds of latency?
  5. How much delay do you need? More than 300ms? For 300 and under the cheap small Sescom has worked well for me (AC via wall wart). For longer or more precise delays I have an old Alesis Quadraverb which can store the delay patches. There was the Behringer "Shark", also around used pretty cheap. But all AC powered... Maybe you could daisy-chain a couple of the Sescoms to get a longer delay (since this is for monitoring only)--and I think the wall wart is feeding DC power... But figuring out just how far out of sync you are first would help.
  6. Oh....that might be a bug, or an issue with the power circuit in that case. Did you find other complaints about this online anywhere? Such a bummer for such a handy device...
  7. Slot cameras have never been a thing for "cine" style shooting, only for news and some docs. They are ok if you will be working with the same camera a lot, but not great for a day-hire freelance soundie re: needing to adapt to multiple camera configs. I would say that of the cameras I've worked with in the past 5 years none of them would take a slot receiver of any kind.
  8. So auto-power-off is still automatic when the speaker is on AC power? Mackies have this switchable on the back.... Maybe there is a mod you could do for this? Maybe a firmware update could fix this? As good as that speaker sounds this would be a reason for me to pass on it!
  9. Ours became mostly an exhibit when the techs of the video house I worked at discovered those potted modules and refused to work on it. And it needed work, often. Yes, not great headroom, but way cool looking.
  10. For actual recording work, esp on distant locations w/o support: Nagra. For cool-factor and hipness: Stella. Ditto for the Stella mixer vs any other small mixer ever made.
  11. Gotta ask--didn't Deity do testing and have Beta users try this stuff out, like beta folks who were professional soundies? And things went ok enough that they decided to bring this gear to market? In this market the price of having a lot of failures or issues on rollout is pretty high...
  12. The poster from Deity has been pretty clear that their product isn't going to work well for a soundie who needs a batch of very reliable wireless for large complex jobs, and from that I take it that the user is expected to both do their research on the locations they'll be at (along with who else will be on the air there) and be using a small package more akin to what a simple one-person doco set up might be. The former is what soundies are expected to do no matter who they are and where they are working--that is just modern RF life. The latter is about who this gear is really designed for,
  13. I've done both for about 35 years, after being just a location soundie (and filmmaker etc) only for about 10 years before that. If you want to do both sorts of work you are in luck in being in Europe, where having a single sound person for both production and post is something of a tradition. In the USA that is not true, and there are many barriers to working this way, but hopefully you won't encounter them. I very much agree that working in post production audio (and being up on current techniques) really adds to one's value as a location sound recordist. As you said, it means that you h
  14. Try to not use wireless if you can, often there is a way to hide cables down the legs etc. I'm a fan of ORTF but that is an aesthetic choice. Super close close micing the piano can often result in recording a lot of action noise and off-harmonics if the piano isn't in really good tune and mechanical repair. You might get good BG noise rejection, but might also be making a lot of work for someone who has to remove a lot of pedal noise, action bumps, squeaks etc. These are all less of an issue in more distant micing, but then the room is more of a factor. If the sound of the live pian
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