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Patrick Southern

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About Patrick Southern

  • Birthday 04/28/1984

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  • Location
    Brooklyn, NY
  • About
    I'm a production sound recordist and studio engineer based in NY. I founded Spaceman Sound, a recording studio in Greenpoint, Brooklyn.

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  1. I’ll put my guess in at 12k USD. In any case, it’s nice to see some subtle innovations on board here such as the surpassing of the 4gb file size limit and the ability to arm and disarm tracks while recording. Somewhat interesting that it can’t be used as an interface but I don’t expect many users would benefit from this feature anyway.
  2. These new products cannot transmit and record simultaneously, which I believe evades any potential Patent concerns.
  3. Just wanted to chime in here, as I just picked up the OR-48 a couple days ago. Frankly, I'm totally in love with this thing. It's just perfect for the kind of work I mostly do (interviews and commercials), and is very well-made. Every detail has clearly been well thought-out, right down to the zippers. Even on jobs where I'm a one man band, it's so much more convenient to have this setup nearby than to have a small army of pelican cases half-opened in some corner somewhere. The only negative aspect of working with this bag is that it is quite large and heavy (22lbs), and therefore probably isn't appropriate for those extreme run and gun jobs where you're need to be carrying as little gear as possible and are constantly jumping into and out of a pass van with a bag and harness on. Incidentally, I was an early adopter of the Orca mixer bag, and I'm impressed with how well it's held up despite an inordinate amount of punishment. I'm hopeful that this bag/cart will be similarly durable. (I attached a photo of my current configuration for the cart.)
  4. I've experienced this, and it's been baffling me as well. I've taken to muting my outputs and leaving the TX on until I've collected all the PR-216s, which is hardly an ideal way of doing things.
  5. I've had talent complain of hot LA2s, but I've also had them complain of hot SMQVs. At similar RF output voltages, I actually find that the LA2s run a little cooler. In any case, the solution is to never allow a transmitter to touch the talent's skin - which is good practice anyway considering possible moisture issues which can effect many devices - particularly, in my experience, the LA2s. My QRX200, on the other hand, can easily get almost too hot to touch...
  6. I've been using Harvest, which is a paid web-based service primarily geared toward folks who need to track hours. They have a really nice invoicing system and there's an app which makes keeping track of expenses very simple. There are probably better products out there, and I've tried trials on a few, but I find Harvest particularly easy to use and quite flexible.
  7. While I realize that this product really isn't "for us", I wonder if anyone has encountered one of these relatively new Audio-Technica System 10 wireless systems, which appeared in June: http://www.audio-technica.com/cms/wls_systems/64268b9dcbed6cfd/index.html I don't believe I've seen a prosumer wireless system in the 2.4ghz range before. Presumably, AT is trying to target the DSLR crowd the only wants to run a single lav.
  8. For what it's worth, I was on a shoot a couple weeks ago with Dragon that would not accept TC from an ERX, Nomad, or 744T. The camera department was very accommodating, and luckily we had some down time to test settings on all devices in the hopes of identifying user error. No luck.
  9. I have been having a great success using Zaxcom ERX2TCDs, but I know there are more robust solutions for situations that require stereo hops / returns.
  10. I'm not sure how much practical use this will have in our field, but it's definitely really cool. Nothing compares to real world experience, of course, but this could be a fantastic teaching tool. Thanks for sharing!
  11. I'm not sure how pertinent this is, but I recently got back from China and we did not have a Carnet for our gear. The production owned the sound gear, which was worth around 10k, and were under the impression that we didn't need a Carnet for such a small amount of gear. For some reason, the $100k number was floated around as the threshold, but I stayed out of that whole business as I'm of the philosophy that this is the sort of thing production should be worrying about. We did have equipment lists for both sound and camera. None of the officials on the Chinese or American side asked to see any documentation concerning our gear and the process was completely seamless. Just out of curiosity, is the production company based in China or the states?
  12. I use a Rycote InVision 7 (INV-7) with my MKH-50 and have no complaints whatsoever. I would imagine that a 60 would be too heavy (like a 416).
  13. The tricky part of your request is the 24/192. The only thing I've found is the SONY PCMD100, which I believe is about to be released. Otherwise I would imagine the Nagra would be your best best if price really isn't a consideration.
  14. While I agree that more flexibility with regards to file naming would be preferable, I really don't think this is a serious issue. The information is in the metadata. You can easily rename the files via Wave Agent, or rely on post to properly ingest the audio using the metadata.
  15. I'm pretty new to the game, but I bring: - Sennheiser 416 - Sennheiser MKH-50 For backup, I also bring: - Oktava 012 - Sennheiser ME66/K6 (which I hate). On the wireless I have a pair of COS-11Ds for my SMQVs, and a pair or EMWs for my G3s. I also have a B6 wired for Lectro. That's it!
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