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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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    Sound of all sorts
  • Interested in Sound for Picture

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  1. Most of the local YMCA etc streaming teachers have gone for E6 w/ Senn. G series, or mics that are Chinese knockoffs of the E6. They seem to work quite well for them. I bought a Samson "Airline" setup for one dancer because it was the only rig I could find in which the transmitter was built-in to the earpiece--ie no wire and no TX box. It's a very elegant, well thought-out system. The earset stayed on the head very well and the range was adequate for class work. The voice sound wasn't bad, but had far too much BG noise for our use. I got away with it a little by expanding the bejeezus ou
  2. RG8. Worked great, but affordable=stiff, not a great thing for days with a lot of moving around.
  3. What you see is the result of a choice SD made about what would be less confusing for post when getting production sound in which various tracks are used or not used thru a series of scenes. I believe the idea was that cast member A would stay on track X all the time, thus if A was not in a scene their channel would be turned off. But actor B, who is in all scenes, has a channel that stays on all the time. Especially if actor B's channel is a higher number one (like in the "2nd batch" of a 664) and the lower number tracks were going on and off thru a day, if the metadata didn't work this wa
  4. My 302 and my original version MixPre have many paint dings and even bent front "ears" from being dropped. They still work great, and I've owned them since they were first released by SD (in the case of the original Mix Pre that's the early 1990s). SD will still repair them. Great Lundahl trafo mic pres, similar to those in 442 and 552, really good limiters. If you read the manual for the 302 you will discover that it can work as a 5-input mixer (the returns become line inputs): I used mine that way on many many jobs for many years. Extremely versatile box.
  5. And can you start, stop, sync more than one at once from your phone?
  6. Bill Ruck figured out a passive combining setup for me for the USA units of Salvador, for 3 wireless transmitters sharing the same antenna. He made careful measurements and we made very specific cable lengths between the TX and the Ts (which fed a single mag-mount antenna out of the shots). The set up worked very well for car-to car work on that movie, as well as lot of commercials and etc jobs, so while this is not the first choice any more it can be done.
  7. At 37 MPH there will be considerable wind on the mic. Whatever mic it is will need a very serious windscreen, like a zepplin type. If this is wild sound (no cameras), can you rig off the frame of the sulky, like a pole reaching forward towards the horse's head, but back enough to be out of its sightline? Then rig a small recorder to the seat or etc and let them go?
  8. These carts won't take enough weight for my bigger jobs, and the wheels are far too small for me, esp re getting over cables, curbs, door jambs etc. There is a reason you see so many Magliner carts, as expensive as they are: you can load them up to ridiculous extremes and have them still roll fine. I'm also a major fan of "one trip in, one trip out" working, ie being able to get everything for even a big multitrack job in in 1 cart load. Way easier re: parking, doors, elevators, security and so on.
  9. Your situation is where the work of most sound people has evolved to--working solo, working small, with a cart that is in fact a gear carrier and not a permanently set up workstation. For many solo mixers the cart is just your bag rig sitting on a Magliner etc with a shelf--that is the most flexible set up for a soundie who may have to spend all or part of a day wearing that bag, or at least doing so during shots. Cart makers like Rastorder and the folks who make Zuca-based rigs try to thread between no cart and "big" carts. My major problem with having both smallish and then a fairly larg
  10. OK, cool, you are a great cart designer. You'd be a greater cart designer if you spent a lot of time watching how location sound gets done. There is no comparison between a customized mixer's cart and a generic camera cart, the former is far more personal and has to attach, protect and make usable far more equipment than any camera or grip cart. Those carts are gear-carriers. Our carts are personal workstations. I really thought that the late Mr Chindha had some great ideas, but his carts, as with many of their "descendants", are too expensive for many sound folks who are also having to
  11. But I've had the same issue on corpo projects too, when they want to shoot in public (or "semi public") spaces!
  12. True, but in verite doc shooting, anyhow, there are often moments where a crew needs to follow a story or a character into places where a crew is not very welcome.
  13. I think you're going in the right direction. Ditch the fishpole+zep (huge giveaway) and any sort of cart, get some non-pro looking bag for a small recorder (maybe beat up even), without a harness (like just a shoulder bag), and some sort of "reduced" headphones, or no headphones (at least visible) while rolling, or even some sort of consumer cans like Beats. When I've really needed to be "gone" I've used small recorders like Tascam DR10 or the Zax and Lectro remote TC recorders (and back in the day, Nagra SN!). These, plus an attitude and posture of "I'm not with that guy talking to himse
  14. If I had a shot at an SX-R4 at a good price I would not hesitate! Sax audio has been great forever, no worries there!
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