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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
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  1. Some on-set experience is very valuable in designing a cart. Knowledge of what will get loaded on it, how and in what positions it will be used, what the environments will do to it, what sorts of vehicles etc it will have to ride in, on and on. This is why so many mixers end up building their own--it's very personal.
  2. A low budg crew in '78 (that would have been me) probably didn't have a Sela or any mixer at all. We had a Kat15 external preamp for the 3rd input on a Nagra 4.2 or IV-L and mixed 3 channels down to mono live on the set. Needing more than 3 channels at once was pretty rare in low-budg world then, in that we'd be more likely to go to 2 booms before we'd want to wire anyone anyhow. When I HAD to wire 3 or 4 people we might use a cheap mixer of the day (Shure M67) for that one shot, and ditch it for normal (cleaner) operations as soon as we could. In that time I also had a Nagra III, so 2 ch
  3. If it does "split" the poly with the free Sound Devices "Wave Agent" software. (Available as a download from the Sound Devices website.)
  4. There must be hundreds of channels in play here--I see small mics on individual string instruments, each BU singer with a handheld and so on. Whoever put this on really put a lot of resources into it, and it sounds really good....except for the piano. Gary Brooker used to play a real grand piano in PH live shows. These guys had a whole orchestra+drum kit+rock band playing live, why have a flat-sounding digital piano? The fidelity of the other instruments, esp the Hammond and the drum kit, just slaughter the sound of the piano.
  5. I'll bet the improvement in the audio the phone records is dramatic with this thing. But I also despair of getting my clients to try something like this with their remote (etc) interview subjects, even if I bought it and loaned it to them for free. I am so over explaining how to get better remote audio via the "easy ways" like phones and Zoom--it's mostly been a waste of breath. Maybe radio and podcast etc reporters will use this--might be great for that (ie owner-operated).
  6. It's pretty simple: the huge majority of jobs for location sound recordists are solo-gigs, ie a "department of one". Everything you bring and use has to be carried by you, and in virus-world no one else is supposed to touch your gear, even during load-in or out (not that we could count on much help ever...). Solo sound people are expected to be able to go and stay "mobile" at a moment's notice, if the shot requires it, which involves wearing the recording rig and carrying the mic pole. The sound person will often not have time to put that gear down to tend to quick lav-mic, client monitori
  7. A "tier A" mixer might not handle a boom much, and spend most of their time seated at a sound cart. Since I don't think that's the kind of testimony you are after I'd suggest you talk with well-established sound people mostly working solo, since the strength and stamina needed to do "boom+bag" work exceeds that of just doing one or the other. As an injured person that sort of work may not be possible for you any more, which I gather is your position in your case.
  8. Generally carts push better when the "smart" wheels are at the rear, right in front of the handles, as on a Magliner, and you push the cart in front of you (as opposed to dragging it behind you). Was your plan with this cart that you'd tilt it back onto the big wheels with those red handles, and roll it with the smaller wheels off the ground? Or is it too heavy for that? If you are planning to do a "2 wheel" roll then bigger wheels would really help with getting over cables etc. If the cart is heavy enough that you really can't safely roll it on 2 wheels then I'd say you might want consi
  9. Do hospital health workers not use throw-away masks with ear loops? Are those ear loops easier on the ears?
  10. They didn't work for me--still fogged. I agree that a mask good enough for a grocery shop might not be very comfortable on a long work day, esp if you are doing some serious physical stuff. I end up switching out various cloth masks with filters in them, but would defer to the folks doing episodics on what to use for long day/day after day use.
  11. There are lots and lots of PA boards that do this with varying degrees of fidelity and clock stability. My QSC TM16s can record all of their inputs as isos, plus mixes to a fast USB stick with an accuracy of about +/-1 frame an hour. But no TC and no external clock port. But cheap, and small! Soundcraft makes a few boards that can record themselves or act as an interface and have external clock ports, but no TC. Yamaha ditto, but bigger and more expensive (and better sounding). For the movie-centric world where TC, super-stable clocks, fast metadata entry and sound report making are dealb
  12. https://www.kickstarter.com/projects/okmilo/milo-the-action-communicator I think it is possible the the ad is maybe not a recording off their device (?). Has anyone seen these in action?
  13. Isn't CL12 just a control surface for the recorder? IE no pres or mixing of it's own?
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