Doug Osborn

One of the definite benefits of audio gear is owning something with a long shelf life!

Adam, Let us know what you get and how it all works for you. Nice to hear that you have budget to fund those different categories.

Do it right the first time. Very wise.

If you can wait to make your purchases, NAB is a great option, especially if you know there is going to be new gear unveiled at the show that you're interested in. Even so, getting to meet the vendors may provide you with new insight on how to slice that $20k pie. I do agree with Mike to keep this system as simple and user friendly as possible for your staff without sacrificing the quality you're hoping to capture. I'm partial to Schoeps myself, so if you go that route I would encourage you to take a look at the DPA 4061 lavaliere mics for your wireless system. I prefer the DPA 4061 lav as it--in my opinion--is a "close match" to the Schoeps sound as is possible in a lav. Be sure to check the DPA website as to what wireless systems it can be adapted to. I'd consider at least a 12 foot boom (minimum) on up to an 18 footer. My preference is either K-Tek or the Loon Penta. Add a sturdy light stand or a C-stand if you plan on locking the boom down, a Matthews 2-1/2 inch Hollywood grip head, a boom pole holder and a couple of 10 pound or 15 pound shot bags (like the Matthews BOA bags). Maybe take a look at the Sound Devices 552 Mixer. There is a learning curve, but you get 5 channels plus a dedicated built in 2 channel recorder with that unit. If you don't need 5 dedicated channels, and want to go simpler (although it will cost you a few hundred more dollars) perhaps the Sound Devices 302 Mixer and SD 702 Recorder might get you by. Add on cables, batteries, CF cards, windscreens, cases and headphones and see how much of the pie is left over. You could set back the cash you have left over in the bank and draw against it when you need to hire a pro for your larger shoots. Then again, that $20k would go a really long way on hiring a pro for every single one of your shoots. Think how much the savings on Tylenol alone that would amount to for you as a Director.

Adam, Do you live in close proximity to an audio specialist where you could get their advice, or are you in a fairly isolated area? I agree with Mike that if you are in the position to go visit a pro audio vendor, that's a great place to start. But if you're isolated like some of us, then asking others for advice stands to reason. Reading through your post are you only interested in getting the one Schoeps mic and two wireless mics in this initial $20k purchase? Or are you hoping to get more mics to cover the acoustic musical performances you mentioned? How many mics do you want to start out with in this initial $20k purchase? Doug

Mics are a lot like screwdrivers: there's no single screwdriver that does it all. You need a variety of them to build or repair things. Your objective is to have enough of the right tools in your bag to get any job you come across done properly. All of the mics you list are great mics, but I'll limit my comments to the mono choices. If I could only choose one mic to start with it would be a super cardioid mic. Reason: they tend to work great both indoors and outdoors. That being said super cardioids do have some limitations: they're more susceptible to wind noise when used outdoors and many of them need to be very close to the talent which is a problem for really wide shots. If I had to choose one mic to start with--and money was no object--I would choose either the Schoeps cmc641 or the Sanken CS3e due to their indoor/outdoor versatility. If money is tight, you might consider the Sanken CS-1, but I think you'd be much better off in the long run getting the CS3e due to it's better low end. I use both the Schoeps cmc641 and the cmit 5u. The cmc641 is my "go to" mic and I'll use it 95% of the time. If for some reason the cmc641 can't be used then I'll go to the cmit 5u. I've used the Sennheiser 416 for the past three years. It's tough, durable and dependable. It certainly has earned it's work horse reputation. It's a great mic, but unless you're shooting indoors on a properly treated sound stage it sounds thin and tinny to my ear on indoor shoots. If you like the 416, then you might want to take a listen to the new RODE NTG-3. To me it's not the equal of the 416, but it's pretty darn close. It has a looser, more forgiving pattern which may be a plus for less experienced boom operators. But the primary reason I purchased the NTG-3 is that it is virtually imperious to humidity and moisture. The NTG-3 is my safety net should either of my Schoeps succumb to humidity/moisture issues on a shoot. The Neumann kmr81i is on my list of "must have" microphones. I love the presence of this mic and hope to add one to my audio bag soon. For what it's worth, I would advise you to listen closely to all the mics on your list. Choose the ones you like based on what you hear and not on what anybody else says. Trust your ears for what you like, and cross off the models you don't like. Then determine which model you can afford to purchase right now and start there. But develop a strategy as to what your second, third, and fourth mic purchase will be as your career expands. Having a strategy in place will likely help you make the best decision of where to start.

Sam, I think God created two types of people: those who can tolerate on-ear head phones (like the Sennheiser HD 25) and those that can't. I just purchased a set of HD 25-1 II several months ago and they do grip your ears securely, but I love their sound. If you're committed to trying the HD 25's again, try breaking them in for a 1/2 hour to a full hour a day, every day. Listen to iTunes or watch your favorite TV series instantly on Netflix. You can put your headphones on a mannequin's head ($15 off eBay) when you're not using them to help break them in as well. But the real issue is conditioning the sensitivity of your ears to their fit. If you try the velour pads for the HD 25's, be sure to post how they work out for you. In my opinion, the better route in your case may be to find a full size set of cans that don't rest on your ears. Maybe something like the Sennheiser HD-280. Heavier, but definitely more comfortable.

I just received a new 17'6" Penta boom in late December (ordered it before Thanksgiving). Loon Audio moved their shop from Montana to southern California. Don't use their toll free number. I had no luck trying to reach Loon Audio in September and November until I came across the contact information listed below. Once I used the 951.676.3600 phone number I got a hold of Don whenever I needed to speak to him. No problems getting my order whatsoever. Loon Works 43234 Business Park Drive, #101 Temecula, CA 92590 951.676.3600 phone 951.676.3611 fax sales@loonworks.com I haven't used the PSC Elite but I've heard a lot of positive feedback from guys who use them. I do own an older K-Tek Klassic, K-Tek Avalon and a new Loon Penta. At my last position we used an aluminum Avalon. It's a great pole if you have a number of people who will be using it. Never had an issue with the Avalon other than weight. If you have small hands or prefer smaller diameter poles, you may prefer the K-Tek Klassic over the slightly larger O.D. of the Loon. I do prefer the side XLR mount of the K-Tek over the Loon Wing for use with a cable. Big advantage of the Loon Wing is when you use a wireless transmitter. But I have to confess . . . I love my Loon.

I've used the full modular Rycote system, a K-Tek Fuzzy and a Rycote S-300 and S-330. I bought the S-300 for my cmit 5u so I could have easy access to the three filter switches. I've used the Fuzzy for years and it continues to serve me well, but I prefer the Rycote S-Series to the Fuzzy. The full modular Rycote system is definitely the way to go if you are going to be at high altitude or in a high wind situation. But for 85% "plus" of what I do, the Rycote S-series is more than adequate. The S-Series wind kit offers quick access to the mic, it weighs less than the full modular system and you'll end up with a few more "Presidential flash cards" in your wallet. That being said, if you know that you'll be in a number of high winds situations, you don't mind the extra weight, and you want to error on the side of safety, then go for the full modular Rycote windshield system. If you don't see yourself hardly ever being in a high wind situation, you may want to start with the S-300 and see how you like it. In my opinion I think if most guys had both the S-Series and full modular system at their disposal in their audio bags, they would reach for the S-Series most of the time and use the full modular windscreen when needed.

Phil, On the Pelican Case, take a look at the 1780 Transport model. Interior measurement is 42 inches X 22 inches x 15 inches. The 15 inches of height is more than what you need, but this is ready made. The 1780T model comes with foam and weighs in at 49 pounds. The 1780NF model comes without foam and weighs in at 38.4 pounds. Don't know if that meets your criteria or not.

Phil, Several options come to mind that might work for you (depending on your budget). One possible solution is to custom order a fibre case to your specs. They can be built ATA style, but because the case is constructed of fibre instead of baltic birch and laminate, the weight savings can be substantial. A number of companies can build to your specs, with or without foam liner, with or without casters, etc. Some companies even offer integral trolley systems for the case. You may start by contacting www.fibrecase.com. Another possible solution is looking at Pelican Cases and see if there is anything in your size range they already manufacture: www.pelican.com. A third option might be contacting a manufacturer of soft cases. With the economy being as slow as it is, you may be able to talk them into doing a one-off bag for you or they may seize it as an opportunity to develop a new prototype bag. A number of years ago I approached B.A.D. Bags to custom make me a small duffel bag with my specs to carry audio cables. They made an initial run of 6 bags: one for me, and five as a market test. The remaining five bags sold immediately and they added this bag to their line up. You might possibly contact KATA (www.kata-bags.com) and see if they could widen one of their existing bags like the MAZE-4. Hope that helps.

Hey guys, this is my first post. I just wanted to say I recently ordered a 17'6" Penta boom from Loon Audio in late November 2010. I experienced the same initial problem in trying to contact them in September and November at their 1.888.582.7083 toll free number. I was on the verge of giving up until I located their new contact information: Kintla Corp. 43234 Business Park Drive, #101 Temecula, CA 92590 951-676-3600 phone 951-676-3611 fax sales@loonworks.com I had no problems with my order after making contact with Don and received my new Penta boom in December. It was well worth the wait! I'm with John in allowing Don to explain the current status of Loon Works following the relocation of the shop from Montana to southern California.