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Philip Perkins

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About Philip Perkins

  • Birthday 01/01/1

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    Sound of all sorts
  • Interested in Sound for Picture

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  1. Yeah, re: mixer-recorder: read thru the manuals and see if the extras (esp routing) are something that you would use a lot, be worth the upgrade now. For wireless, there is nothing wrong with 411s, but later wireless have some handy features, esp re remote control of TX. Do you need that?
  2. My world as a re-recording mixer includes a lot of personal, journalistic sorts of content-docs, and those folks are forced by circumstance to work alone mostly, or without a separate sound person anyhow. If they have a 2nd person, they are probably on a 2nd camera, not on sound. So we get it. And as you say, the experienced one-man-banders all bemoan the quality of the sound they can get alone and the hassle of worrying and doing it. But that's just how things are in that world now.
  3. That is my experience pretty much too, unless the peeps are in a distant room that can't hear the set directly at all. But I still end up setting the whole the up anyhow just in case.
  4. Please report. I guess the Pfizer booster will only work for people who had the Pfizer vax, or can anyone vaxed somehow play?
  5. It would only work for me if one of the third-party boxes that let you use more than 2 monitors worked with it. Have heard mixed reports.
  6. When I started there were significant barriers to entry in the post audio world, in the era of mag-film dubbers and little or no mix automation. At that time small mix rooms might have a total of 3 or 4 channels of playback max going down to a mono recorder, very limited signal processing, even more limited "problem solving" type gear like NR (remember Burwen?), tiny SFX libraries on scratchy LPs and serious noise buildup if you tried bouncing things down. A far better mix can be done today via a laptop, a DAW, and some headphones while sitting in a coffee shop. The advent of computer-based post made it possible for me to progress from tiny simple short docs to indie features and fullup PBS films while still doing a lot of production sound as well. My home studio is far more capable than the high-hourly rate dubstages of years ago.
  7. I recall this mixer, seeing it in some sort of promo or maybe @ AES? It was beautiful but we all wondered how Nagra thought it would be used. As was said, kind of not enough of anything in a lovely package. Probably very nice for some purist classical folks.
  8. Thanks--another indispensable tool from Bouke!
  9. About time! I could have used this for the last 35 years!! How about a Lectro version?
  10. 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.
  11. There are cheap HDMI disembedders avail...
  12. 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?
  13. 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.
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