For field recording, what are the key workflow advantages of a dedicated recorder like a Sound Devices MixPre over a high-quality USB interface and laptop? Why make the jump from an interface to a dedicated unit?

50:46and uh it looks like it'll record 24-bit and look at that we were just talking about sample rates you can do 192 kilohertz and have gargantuan file sizes all right let's go to the next question that's good well played paul who's in austin texas is asking for field recording what are the key workflow advantages of a dedicated recorder recorder like a sound devices mix pre over a high quality USB interface and laptop why make the jump

51:17from an interface to a dedicated unit go ahead Jeff Cohen okay well the name is right there field recorder so if if you're going somewhere where you want to set up a laptop and all that stuff and bring it with you great if not you have that and to point out depending on what you already have a lot of people will simply use that as their audio interface but then

51:43they can grab it and go Mickey what's your thoughts yeah I think it's important to distinguish exactly what type of field recording you're talking about the Paul but generally speaking it's a matter of do you want the way be able to move fast move fast both in terms of getting things configured configured properly and all that, much faster to do it on a field recorder that's a single-purpose device

52:12that's designed to do one thing and do it well. And also move fast, literally, like physically move fast. If you need to run and chase something that you need to capture two blocks from here, like having a sound recorder on a harness in a bag, you can move much faster with that, you know holding your grabbing a boom pole and swing it around at the same time then having to

52:39deal with a laptop and an audio interface and USB cables and all that but the answer would vary depending on exactly what type of field recording you're talking about yeah if you've never seen a really qualified field recordist with their bag over their shoulder and all the other stuff that they have with them it's it's a thing of beauty it's really it's really great watching somebody

53:02of work like that. Courtney? Yeah, it depends on whether you're recording sound effects or field recording dialogue. You know, you want a sound card if you got, you know, eight people on wireless mics, you know, you want to have a sound card with maybe a laptop hooked up to it. But, you know, field recording can also be, you know, like Mickey said, you're in a bag. All right, let's say you

53:23want to get the sound of shushing down that side of that hill on your skis. You know, you're going You've got to throw, holding a laptop with an interface and all the wires and holding the microphone out in front of your skis, that's going to be a little difficult unless you've got a built-in, you know, a recorder. Also, the other thing, if you're tracking in the field, you're just trying to capture tracks.

53:46You're not going to be using plug-ins and doing sound cancellation or reverb or any of the other myriad of plug-ins that will run in your laptop. top, you're just going to want to record the clean A to D converter that's built into the interface, you know, built into your recorder and record clean tracks that are unmodified. So I always go for the simplest recorder possible that records the bit rate that I want to,

54:11has good quality preamps on the input, and everything else is left to post-production. Mickey, I know you have one more thing to ask, but I was going to ask you, you, what's the most wireless receiver or wireless receivers and or transmitters, because I know that you transmit also, you've ever configured in a bag? In one single bag? Yeah. I guess 15, 16 channels of receive.

54:36And you have nowadays, you have four channel receivers. So four of those allows you to receive 16 channels. At that point, I'm not really mixing. I'm just tracking. But yeah, that's the largest track out I've done in one single bag. And were you transmitting out of that bag also? Or just capturing? Yeah, camera hop and also for producer, director, monitor. So 16 receives and two outs, minimum of two outs.

55:08One or two outs because most of the time, the hops that you're feeding camera can be the same signal that you're feeding to your director and your producer and your script supervisor and all that. But there are times that you have to, different people want different mixes, so you kind of have to add up on the transmitters there. And in terms of what I was going to say,