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Equipments: A young sound mixer needs equipments


OyinSound

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Hi.  I had a bad sound day yesterday.  I had a shoot for CNN and it took me a very long time before i could get a very good mic to record. I was unhappy because this is not good for my brand. I don't have equipments of my own so I'm here for advice on how to raise and save funds for equipments also to know if anyone can help a young sound mixer with sound equipments. 

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Don't buy microphones from Ebay, many of them are counterfeit.  Buy second hand from other sound recordists, or better still, old stock from established dealers.

Me, I'd probably buy an old SQN 4s, a Sennheiser 416, a Panamic pole, a couple of Sennheiser G3 radio mics, and go from there.

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4 hours ago, OyinSound said:

Hi.  I had a bad sound day yesterday.  I had a shoot for CNN and it took me a very long time before i could get a very good mic to record. I was unhappy because this is not good for my brand. I don't have equipments of my own so I'm here for advice on how to raise and save funds for equipments also to know if anyone can help a young sound mixer with sound equipments. 

Depends what cameras you colleagues are using. If all cameras have XLR i/p, working return monitor and are well maintained then a s/h SQN will be smart way to go. If you work with the other cameras as well then I would consider a zoom F4 (or even 2 - for back up and the extra rental possibilities). A used 416 or a røde equivalent, rycote softy, sennheiser radio mics (or whatever is most accessible in your market - eg. it maybe sony etc). Check bblist.co.uk and similar for used equipment, especially complete kits and cables (buying all your cables new will be surprisingly expensive).

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have a backup plan when things go bad. an extra mic, some kind of preamp or a phantom power supply that gets your signal into the camera and a way to monitor camera and some extra cables.

most producers will be somewhat understanding when there is an equipment failure that requires an alternate technique to capture the sound.

failure to have a backup plan that can be executed quickly is bad for your brand too.

if it was the producer's equipment that went bad that is no good for the producer's brand as well.

at the end of the day, when there is an equipment failure or snag that was worked out quickly everyone will be happy (more or less) or relieved/satisfied that the shoot was completed.

in some instances, executing a backup plan quickly when things go bad will make your brand look very good because you saved the shoot. they will remember it = good for your brand.

 

 

 

 

 

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On 9/23/2016 at 7:26 PM, Lancashire soundie said:

a couple of Sennheiser G3 radio mics

Look also into Sony UWP-D11  (I just purchased a mint set earlier this year for only just over three hundred bucks), RODE RodeLink  (what I got beforehand. They're great value! But a bulky TX), & Saramonic UwMic10  (what I've got on order, and will arrive soon, even cheaper!).

Also consider a Tascam DR60D mk2  (practically free secondhand now!) or a Tascam DR680  (I got one earlier this year for under three hundred bucks, including a Satchler bag!) as your emergency back up recorder. Because as OP noted, is important to always have fall back options! Main recorder of course would  be a Zoom F4 or F8.

On a similar point, keep an eye out for the Aputure D3 microphone, its price will be well under three hundred. As could be a great back up mic or for those cheaper/riskier jobs. It is claimed to perform similar to a 416! :-o

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