Travis Breitenbach

RSVP!

The round plastic containers that electrical tape comes in work nicely for lav storage. You don't have to make your coils too small and you don't have to jam them into little square spaces.

Pretty neat. I like how the Features section on that page says, "NO FEATURES!"

You should have a sit-down with the CS-3e, the MKH 60, and the 416.

For bag work, most people use a Li NP1 set-up, with either a Remote Audio BDS, Cable Techniques Battery Bud, or a Hawks Woods distribution system. I power my 788t from a 2nd external battery source - just a simple NP cup with no power distro. Powering your recorder separately from your wireless can provide some small relief from Rf spray with most any (pro) recorder. With the 788t, you can swap your external power source and it will seamlessly switch to the internal battery even during record. Powering using the internal battery only seems a bit reckless. The CS-3e is a great sounding microphone. The 416 has a slightly longer reach, is super rugged and cheaper, and also sounds great... They are widely available on the used market and still dependable. You could probably score one for <$800 on ebay right now and use the extra cash to buy NP1's with. There is something to be said for modular systems though... It's hard to go wrong here.

It's true most Reality mixers are absolutely embarrassing when they boom, with their shotguns 7 feet away from the action and pointed over the "talent's" heads. It's always annoyed me tremendously. I can only assume that the reason they imagine they're doing an acceptable job is because their HP volume is so loud they're able to make out some dialogue. Reality TV generally doesn't require much booming, but when you need to boom you should do it right and get in there with it. I like to boom properly and I rarely bother camera people, they're usually happy to be working with an audio guy who is nice but still gives a shit. Now, telling someone they can't boom is like telling someone they can't drive - you won't make any friends that way. Keep a level head even if you don't approve, and just don't hire those people when you're Sup'ing.

There is a lot of gear which can be purchased used and still function perfectly. If you're patient you can acquire your wireless that way. IMHO, a nice shotgun is more versatile to start with than a hyper. You can always find MKH 416's in good shape on ebay, or you could go with an MHK 60 and buy the 50 capsule later.. If you go with Lectro, you'll get more for your budget. The resale value is high (you can sell used stuff for the same price you bought it, after deducting it), and you can move to Zax wireless over time. For your budget you can get the wireless you need if you go with Lectro, or SOME of the wireless you need if you go with Zaxcom. Building a kit requires a lot of sub-renting as jobs demand more than you own, so I like to own gear that is compatible with other mixers (at the least the ones I know) and rental houses - again, Lectrosonics. On that note, Reality TV is like a black hole. You'd be smart to avoid it, but if you want to work a lot, it's bread and butter. I started mostly as a boom op on commercials, and years later found myself mixing reality almost exclusively. It has been worth it for me to own the equipment that is used on most reality productions as I am often able to get bits and pieces on multi-cam shows (through friendships with the audio sup, if they are supplying the gear and are short) which would otherwise have hired me only for labor. NONE of the reality people I work with in NYC, or LA use Zaxcom anything. I'm sure they're great and I've always wanted to get to know them, but it wouldn't make business sense for me at this time. What is used in the NYC reality world: SD 552 and 788t (and my Wendt X5 still gets a little action), Lectrosonics 411a/400a or SMQV (start with block 26, that's the most common block owned by NY mixers and rental houses), B6 or Cos11 lavs, MKH 416 or 60, IDX Li NP1's. Good luck out there, Travis

Sony 7506's are essentially the industry standard, at least for ENG. Many other headphones rival or outperform them in terms of sound quality, but you can't beat the fold-ability/form factor. The original pads crush my large ears a tiny bit and flatten out over time. I've found those velour Beyer Dynamic pads to be more durable, comfy for larger ears, and have slightly better isolation. They are also better in hot weather. I've done about a month of work with them in 100-120 degree temps and they were tolerable - at least they weren't the most uncomfortable thing I had on. I've used and use a few other headphones which don't fold up as well. It can be a pain sometimes, but you can always find ways to work with them.

How dare they use rounded corners on their rectangles! Those thieving bastards!

You should add a bicycle bell to the handle for going around corners

I was using an SRa next to a couple of 411a's in the same block in a bag for a while. I found that the SRa's perform at approximately 90% of the 411a's performance. In an optimal environment they are great, but as things got messy I found there were many times when the 411a's were performing perfectly and the SRa's were taking hits, or moments when I was struggling to get good RF with the 411a's and the SRa's were rendered barely usable... I traveled all over the country with this set-up. The experience prompted me to shelf my SRa and replace it with a couple more 411a's. I guess I'd rather lower my stress level then save my back. With the SRb's coming out, who knows. I'd need to do some extensive side-by-side comparison before I'd be willing to swap back. If anyone purchases an SRb in bl 26 and is willing to lend it to me I'll spend a day testing all three systems (411a, SRa, and SRb) side-by-side, dialed into the same freqs, all over NYC. Another couple of notes: the SRa system does appear to be more susceptible to RF spray from other devices than does the 411a. Also, any system used as a hops receiver is going to outperform the same system when used in a bag due to improved physics.

Sorry about that, I guess I should've refreshed the page before posting.

Hi Larry, I don't suppose I can request that my SRb upgrade be of a different block than my current SRa unit, can I? I no longer use my SRa because I've acquired quite a few 411a's in the same block. I had be thinking about selling it and buying another SRa in a different block to use as a secondary hops Rx. If the board could simple be replaced in the block I prefer it would save me a lot of trouble. Best, Travis

It's a threaded post, not a standard screw or something you'd find at a watch shop. Sennheisers lose them all the time, so any rental house or shop should have them and be able to sell you one for about three bucks.

Thanks Derek, Super helpful!