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SebFilms

I need some used sound equipment

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SebFilms   

I am looking to buy best deal of the following equipment: (Only need one of each)

Zoom 8 or PreMix 6 with carrying bag / NP battery and adapter/charger

Snake cable with return and if possible TC cable

Denecke PS1 48vlst preamp for my shotgun

3 sections OK boom pole (I have the AT 8415)

 

If money rains from heaven I will also buy a good hard wired lavalier microphone.

 

Please let me know if you have any of these items or all, and what would be your best price. I am in New England but could pick up in NY or just use USPS. Thanks!

 

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No such thing. You are so close  I assume you have registered on here so it will magically happen. Perhaps take a trip to the how to use this site section at the home page on this forum. 

 

Also many dealers have consignment sections.  Trew Audio has a pretty big one. Everything is in sections so fairly easy to check. 

 

 

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IronFilm   
On 8/31/2017 at 5:54 AM, SebFilms said:

Zoom 8 or PreMix 6 with carrying bag / NP battery and adapter/charger

 


You will struggle a lot to find anyone selling at MixPre6, and if you do by luck spot one secondhand, it will only be at a very slight discount. 

Because the MixPre6 is an extremely new product, and is in high demand currently. 

This is also true (although to a slightly lesser extent, partially because it has been out a little bit longer) for the Zoom F8 as well. 

If you're very strapped for cash, then consider the Zoom F4 (I even in some ways prefer it over the F8!). 
(and if you're ultra tight for cash, maybe even the Tascam DR70D, as I outlined the options in my latest blog post: http://ironfilm.co.nz/which-sound-recorder-to-buy-a-guide-to-various-indie-priced-sound-recorders-in-2017/ )

On 8/31/2017 at 5:54 AM, SebFilms said:

Denecke PS1 48vlst preamp for my shotgun

 


You shouldn't need this? As you recorder/mixer will supply power to your shotgun.

On 8/31/2017 at 5:54 AM, SebFilms said:

If money rains from heaven I will also buy a good hard wired lavalier microphone.

 

Hardwired limits their usefulness a lot, basically only for sit down interviews. 

And even then I'd feel nervous about using them.....   too easy that they might just forget about it then walk off!! :-o 

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dfisk   

Used pricing on this stuff isn't going to be that much less than new. You are better off getting this equipment new and then you have the warranty. 

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SebFilms   

Thanks for your advise. I do prefer hardwire lavs for sit down interviews and they are as exposed as someone forgetting them when they stand up as the wireless are....transmitter end up under their chair or else. 

 

Best 

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45 minutes ago, SebFilms said:

Thanks for your advise. I do prefer hardwire lavs for sit down interviews and they are as exposed as someone forgetting them when they stand up as the wireless are....transmitter end up under their chair or else. 

 

Best 

 

I don't know about that. A forgotten hardwired lav will invariably result in an accident of some kind, but a forgotten transmitter will only end up on the floor in rare instances 

 

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3 minutes ago, Constantin said:

 

.......... A forgotten hardwired lav will invariably result in an accident of some kind, but a forgotten transmitter will only end up on the floor in rare instances 

 

 

A curly cable and an xlr lightly gaffered to the chair/floor can sometimes be your friend...

J

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SebFilms   
On 9/6/2017 at 9:25 AM, IronFilm said:


You will struggle a lot to find anyone selling at MixPre6, and if you do by luck spot one secondhand, it will only be at a very slight discount. 

Because the MixPre6 is an extremely new product, and is in high demand currently. 

This is also true (although to a slightly lesser extent, partially because it has been out a little bit longer) for the Zoom F8 as well. 

If you're very strapped for cash, then consider the Zoom F4 (I even in some ways prefer it over the F8!). 
(and if you're ultra tight for cash, maybe even the Tascam DR70D, as I outlined the options in my latest blog post: http://ironfilm.co.nz/which-sound-recorder-to-buy-a-guide-to-various-indie-priced-sound-recorders-in-2017/ )


You shouldn't need this? As you recorder/mixer will supply power to your shotgun.

Hardwired limits their usefulness a lot, basically only for sit down interviews. 

And even then I'd feel nervous about using them.....   too easy that they might just forget about it then walk off!! :-o 

When shooting with 2 cameras (Planning on having your master sound in camera not so much on the external recorder), how do you generally connect up to 2 mics for each camera (Total of 4 mics), four independent tracks, and send 4 balanced tracks to both cameras using the F8?

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If you want to have production sound recorded to camera, you're probably better off with a good a mixer then an F8 (like a 442 which can be found easily used these days).

 

But these questions are probably also better answered in DVXuser or similar forums since most people here will only record scratch audio on camera (if that ; )

 

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SebFilms   

How crazy (Despite the differences on quality and brand) is to have production sound recorded to cameras mixing out with a SD 442 and use a consumer recorder like the H4N Pro for backups (Mixed 1/2 and 3/4)? SD442 has only 4 balanced outs that would go to each of those 4 mics to camera. Where or how could you have the H4N recording stereo mixed of each camera as backups (Which outputs in the 442)? Thanks!

 

PS. When I say backups I mean in case something goes wrong in some of the cameras or both. Still didn't happen in many many years but a safety.

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Diego   

I don't think it's that crazy if you have proper gain levels on the cameras, h4n and on your mixer's outputs.

 

If I understood correctly you can use the h4n as a backup. You have three sets of master outs in the 442 so it depends how you are connecting to the cameras and the h4n. You have the XLR, TA-3 and the Hirose multi pin outs so all you need to do is choose the proper output level and the ouputs you want to use, probably all line-level. You also have the tape out and mono mic out.

 

For example it would go like this:

 

Cameras:

4 mics ---> 442 in ---> mics 1/2 pan L and mics 3/4 pan R ---> 442 XLR outs ---> 442 L goes to camera 1 and 442 R goes to camera 2

 

H4n:

4 mics ---> 442 in ---> mics 1/2 pan L and mics 3/4 pan R ---> 442 TA-3 outs ---> 442 L goes to H4n L and 442 R goes to H4n R

 

Cheers,

Diego

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Diego   
4 hours ago, SebFilms said:

Diego, do you have an email address I can use? or a phone number? Can you post 4 or 5 pictures of the 442 here? Thanks

 

I'll message you privately

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IronFilm   
On 9/8/2017 at 0:12 PM, SebFilms said:

When shooting with 2 cameras (Planning on having your master sound in camera not so much on the external recorder), how do you generally connect up to 2 mics for each camera (Total of 4 mics), four independent tracks, and send 4 balanced tracks to both cameras using the F8?


Why not go external recording? That is the usual way to go about it. Unless you're on a crazy tight schedule/budget or going live to air. 

But if you want better output options than the Zoom F8 then buy the Zoom F4 instead.

 

On 9/8/2017 at 3:06 PM, SebFilms said:

How crazy (Despite the differences on quality and brand) is to have production sound recorded to cameras mixing out with a SD 442 and use a consumer recorder like the H4N Pro for backups (Mixed 1/2 and 3/4)? SD442 has only 4 balanced outs that would go to each of those 4 mics to camera. Where or how could you have the H4N recording stereo mixed of each camera as backups (Which outputs in the 442)? Thanks!

 

PS. When I say backups I mean in case something goes wrong in some of the cameras or both. Still didn't happen in many many years but a safety.


I'd rather have a Tascam DR70D than a Zoom H4n (Pro or not).

But anyway, doesn't  matter as I'd rather go with the Zoom F4 than a 442 (unless you got a crazy deal on the 442, like half of an F4 price!).

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IronFilm   
On 9/8/2017 at 12:12 PM, SebFilms said:

When shooting with 2 cameras (Planning on having your master sound in camera not so much on the external recorder), how do you generally connect up to 2 mics for each camera (Total of 4 mics), four independent tracks, and send 4 balanced tracks to both cameras using the F8?

I use an F4 not an F8, do you really need to send out stereo to each camera, and different for each camera? (& it is preferable to record in the F4 itself, not the camera)

You certainly could send that out! The F4 is capable of that. 
But more likely on an F4 level of budget production, you'd just have one transmitter and two receivers tuned to the same frequency. Too easy!

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