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soundbeard

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About soundbeard

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  • Location
    Richmond, VA
  • Interested in Sound for Picture
    Yes
  • About
    Been moonlighting videography work for 15 years, but just starting to get into sound work. Have done a few shorts and just finished my first indie feature as location sound mixer.

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  1. Some great advice here. Thanks so much. I think I will stick with most of the gear I have currently and look into getting more experience. However, I did want to clarify "self taught." By self taught, I mean I didn't go to school for sound or video work. I bought a camera in 2003 and started playing around, made short films, made lots of mistakes, and learned from them. I met and worked with other videographers. For them, with them. Made lots more mistakes, and learned from those. Met other sound guys. Talked with them. Worked for them, with them. Made tons of mistakes. And learned from them. Schooling is certainly not the only way to learn something. Failure is often the best teacher, so long as you learn from it. I'm asking about getting into my market, which has lots of videographers but a small, dwindling supply of sound people. All the people who would be initial clients are videographers who I personally know and have worked with before. I'm not planning on putting my hat in the ring for film/tv work until I get a lot more experience. All that being said, I really don't like the ME2 lavs, and would like to replace them with something better. I'm guessing the COS-11Ds would be the go-to if upgrading?
  2. I had looked at the 50, but was under the impression that the Schoeps matched the DPA lavs better, while the 50 was a better match with something like the Sanken COS-11D. I'd also heard the handling noise on the 50 was as bad if not worse than the Schoeps. Also, the Cut 60 seems to do exactly the same thing as the Cut 1, and it's half price and smaller. MK41 + CMC6 + CUT 60 is only about $1950.
  3. Was planning on getting the Microdot terminated DPAs so I didn't have to do this. Is this a bad idea? Is this only because the G3 IEMs have a gain control knob or am I missing something else? Also, any idea if my G3's even have enough voltage to run the DPA 6060s? Know anyone who has used this combo? Couldn't find anything online about it. Thanks again!
  4. So I've been moonlighting videography for about 15 years now and am self-taught when it comes to sound, though I've always strived to get the best sound I possibly can when I do videography (I'm a one-man-band setup). I'm looking to start doing sound work for local videographers and possibly other small features. So far I've done a few shorts as "location sound mixer," meaning I'm the whole sound department: wiring talent, mixing, booming and post, and I'm lucky enough to have just finished my first indie feature film, so I have a very small amount of experience doing this for real. What I don't have is experience with a lot of the pro gear, and I'm trying to make sure I don't run into any pitfalls as I build my first sound kit. I just came into a little unexpected money to spend and I tend to be of the mind that it's cheaper in the long run to make an investment in decent gear rather than buying low to mid-range stuff and upgrading. I was wondering if I would run into any problems with this setup: Right now I'm running: MixPre-3 in an Orca OR-30, with BDS run from a slim gold mount battery (this battery and bag are big, I know, but I wanted a bag I could grow into, and the gold mount battery is nice as it doubles as a battery for my camera) 2x Sennheiser G3 Wireless systems 2x Sennheiser ME2 lavs that came with the G3's (these sound awful to me and they're very difficult to hide) 1x Sennheiser ME66 / K6 shotgun on my boom (not crazy about the sound of this, either) And I was thinking about adding these: 2x DPA 6060 lav mics 1x Schoeps CMC6 / MK41 for indoor booming + windscreen (Rycote maybe? Cinela? how bad is the handling noise on this mic?) 1x Sennheiser 416 for outdoor booming + Rycote windscreen system 2x Timecode Sync Ultrasync Ones Lectro or Zaxcomm wireless would be great, but they're out of my price range at the moment. I also know I need an IFB solution of some sort soon, but so far the clients I've talked to aren't overly concerned about monitoring what I hear - if I ever get the money to upgrade to Lectros, I was thinking about using the G3s as sound out / director's monitor devices. So here's what I'm wondering: Will the G3's have enough voltage to run the DPA 6060s? The sensitivity on the 6060s seem really high compared to the Sanken COS-11D or the Countryman B6's. I'm planning on recording dialogue only. Would the 6061s be a better choice? Should I opt for another mic altogether? (the DPA lavs, like the Schoeps mic, seem like good investments - things I won't have to buy again in the near future, if you're wondering why I'm asking about expensive gear to start with). Should I opt for another outdoor shotgun over the 416? Any other pitfalls I might be missing in this setup? Thanks so much!
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