Matt Geldof

My bowtie's have worked well with my SRC's... blocks 19, 21 and wideband Lectro LR. They really shine when you need to get an antenna up above a group of people, to establish a clean trajectory between TX/RX. Quick to deploy and attach to anything, so long as you have long enough 50ohm BNC's. I carry a pair of 10 footers with me everywhere, which work 90% of the time.

I worked on a show many years back.. one of those love/taxi gigs that were so popular. We shot for weeks, audio bag in car, with two shotgun microphones mounted, along with the lavs hidden on talent. I placed a 200mw Lectro RX in the trunk, 4' away from the bag, to transmit audio to the follow vehicle plugged direct into the 15 pass stereo aux in. I needed to rescan occasionally, depending on which area of NYC we were in. The high power TX worked well. I had a 302 in the follow car, with a good pair of headphones. In addition I mounted a 100mw TX in the trunk, that gave me a confidence monitor for the lavs and a second RX plugged into the 302 for the two shotgun microphones. This setup worked perfect for weeks of filming. I was able to isolate audio issues, from the follow vehicle, quickly pull over, solve them and be on our way. It's been awhile since I have been on a show like that, but even with today's tech / and my kit being mainly Lectro and Sound Devices, I'd likely still do something similar.

I own both. Only use the Bowties now. Mounting convenience is not even a comparison. Far as performance, very similar in almost every way to the Lectros,. When they work, they add some range. Nothing crazy. They won't fix a RX that is struggling in a congested RF environment, especially in NYC. Where I love them the most, is when I am in a sort of bag / cart hybrid situation, where I need to move into a tight space and put some antenna's up high and away from the bag. I carry a couple 10' BNC cables in my bag so I can quickly clamp the bowties up on a nearby stand or railing, clearing walls, video village or whatever obstruction is in my way. I never even bothered clipping the folding Lectros to my bag. Didn't think I'd get along well with the bowties clipped on either, but they are so easy to articulate and fold into whatever position I need. I often clip them on, even while doing run and gun in tight quarters. The whips are always close by, if I need to stash the bowties.

There is some good advice here. I use the stingray harness with my 664 and mix pre 6 setup. It is pretty good, but no substitute for eating healthy and exercise. With that said, there is not much you can do about taking care of your knee's / hips, if you are on your feet all day with a bag that is too heavy. The 'work smart' part is propping the bag on my extended pelican case handle or hiring a boom operator/A2 whenever possible. Having a backpack with some of the stuff that would be in your main bag, can help balance things out. Keep a rolling surface with you to place your bag on, even if just the aforementioned pelican case. Fortunately equipment is only getting lighter and more reliable, so at least there is that.

At the moment, I have one instance on my mix pre 6. I generally only take the mix pre sound package out for run and gun / doc work in and around NYC. I have found that noise assist works well for steady background issues, similar to most sound scrubbing software. It also seems that there is an algorithm built in for removing some echo. To get a similar effect in Protools, I need to use both echo and sound scrubbing software. Of course, when using plugins I get much better control, but noise assist is optimized for cleaning up production sound. I generally only use the noise assist on the boom mic, in sit down interviews and dialed into the output no higher than 6/7, leaving the iso track clean. Higher settings can work, but will start to thin out the dialog if the background sound overlaps the frequency range of the person speaking. I take some care in when and how much is implemented. I find it a bit jumpy, using it in situations where we are moving around a lot, especially if monitoring boom / lav split L/R, so mainly stick to controlled environments. I do like having the option enough to consider switching from my trusty 664 to an 8 series. At that point, I'll have to up my rental, but for now include the plugin in my current package rate. Just need to decide which model makes the most sense.

I have used the 2080 IEM receivers, in combination with my Senn G3 TX. Similar or the same as the above mentioned receivers. 40 channels arbitrary selections from 572-603.5 MHz. I use Senn IEM's for the director / Script / AD / Prompter and everyone else gets one of the 2080's with some nice headphones. The range is good in most situations, though I have had to get the TX very close on a few roof tops in Manhattan, which makes sense. Sound quality is quite tinny and mono, but perfectly adequate and intelligible. Similar to comteks. They are not stereo, as advertised. They use 1/8 trs plugs for the headphones. Build quality is decent, but not nearly as nice as the IEM's. Battery life is about 10 hours on good quality Alkaline batteries. I place all my units in hip bags, to protect them, as they will break apart if dropped. Here are the step for the first group of 10 channels, as an example. B1 - 572 - 572.6 - 574.4 - 575.3 - 576.5 - 577.5 - 578.1 - 579.3 - 580.1 - 581.5 I have a cheat sheet in my phone, so I can quickly scan and dial in a frequency, if I end up using any of the 2080's. Good units for low budget gigs, where additional ears are needed, but depend on my comteks and Senn IEM's for higher end stuff. Hope that helps.

I had a similar issue with an ancient UM200B, used as a backup TX a few weeks back. I thought it was shot, until I sprayed some contact cleaner on the battery tabs. Good as new.

Ah, good to know that Gotham now rents out 8 series recorders. Have a great shoot and best of luck filming here in NYC.

This is a good reminder. For this reason, I don't leave a boom extended on a stand over night, even is a seemingly benign sit down interview type situation. Also the boom is always the first thing to come down, as soon as I hear "wrap". Obvious stuff, but reading about bent poles, just re enforces the practice. I have not actually had this happen to one of my poles yet, but have gotten the cable twisted to the point where it will not seat completely. One of my older backup poles, a CF K-Tek Avalon, has a rear facing XLR that is flush mounted. The internal cable seems to get twisted up, more often than I like. Probably because it is also the one I use, when I need a PA to help out in a pinch and the collars are not the best design, which encourages twisting of the pole to release the ring. I keep a spare female xlr end in my kit, so I can stick it in there and unscrew the connector while on set. I can then release any knot or tension in the coiled cable, without damaging a critical XLR. Not fun. Thank you the info.

Thank you for sharing your very nice DIY rig, using the extruded aluminum. It's helpful to see one in action. I really like this setup, for the fact that everything you need is self contained. I do appreciate the idea of a follow cart, but in my world, largely working on varied sets and locations in NYC, my backpack/pelican, is my follow cart. Even when I am on shows, the studios and locations are tight, so a follow cart is not exactly practical. I appreciate how you've organized everything in a way where it is instantly accessible and thoughtfully adaptable to bag moving on and off the cart. Also, your IFB TX / RX antenna setup makes a ton of sense. What hardware are you using for that? Really, I just need to pull the BNC and install the whips, when moving around. This is making me think about incorporating an aluminum frame into a dolly that can covert to a horizontal or vertical setup. It would be robust, but maneuverable enough to move through challenging spaces and maybe even throw some additional bags on top, when the entire crew needs to cram into a single freight elevator. I have to go back through and re read all of the details, but this is clearly getting the juices flowing. Much appreciated.

Wow! Great stuff. John, your cart is a work of art. It looks like Zuca may be where it's at, for a small footprint when vertical space is at a premium. PSC too. I really like the straight forward nature of Constantine's Concart, especially for work where a bag is moving on and off the rig. With that said, also need a quick disconnect solution for shark fins and bowties. Another topic. This has been pretty helpful. Please keep posting, compact DIY builds too, with T-slot aluminum or something similar if they are out there.

Much appreciated. That is a great story Jeff and can relate. I do feel like this will be a bit of a re purpose, but I am game. I very much enjoy building and customizing anyway. Trey, the PSC euro cart looks like it could work. How easy is it to break down and setup? The gallery is amazing. Was about to say to go ahead and close this topic, but I think it could still be helpful to revisit, given some of my needs for a smaller footprint. So post if you have something small and portable with a some specific ideas to share. DIY or off the shelf.

Post your sound cart pictures please. I am researching potentially adding small, light weight sound cart to my kit, for an upcoming series. I typically mix out of a bag. I'll convert my pelican case into a sound cart when needed, or borrow a rolling table from whatever department will lend me one. Basically, I work a lot in NYC on varied types of productions, have to stay light and portable. It is not always feasible to drive to a location with a cart in the trunk. I've had a number of medium / large / custom carts in the past, all of which were not quite right for 99% of the tight spaces and productions I work on. Often it's getting up a laughably small freight elevator, that is the main obstacle. That said, I'd love to see what all of you are using, especially portable / modular / DIY solutions. Ideally, I can easily setup and break down said cart, or roll in and out of a car/van and it doesn't cost as much as a new mixer/recorder. Please post your pictures and some brief thoughts, for inspiration. Larger setups welcome too. Whatever you works for you. If this topic already exists on JWSG, feel free to link to it. Thanks!

Thank you for all you do Jeff. This site has been my go to, for real information, from actual professional sound mixers for many years. Needless to say, I am most grateful that this resource exists.

I can still find what appear to be usable frequencies in the block 25, duplex gap in NYC. As with anything related to production in NYC, the availability of frequencies change significantly from city block to block. With that said, I still have two Lectro 401s on block 25, but it has been some time since I have actually used them. I once in awhile bring them to locations in Manhattan, to scan and have ready, in a pinch, but have mostly moved over to 19-21. It is all quite congested, at this point.

Let's assume this is a documentary type scenario, where this is a real camp fire, no practical effects or propane to assist and there will be people sitting around it having a conversation. There are two main concerns with a fire that crackles. One is the actual sound continuity issues it creates, another the smoke and embers that might be thrown towards the shotgun microphone you have overhead. Both can be mitigated by creating a fire with good combustion and kiln dried wood. Less water in the wood means less smoke and crackling. Good combustion is usually increased by having a well established, hot fire, with a bed of embers, that is ventilated from somewhere down low. If it's a fire ring, you can help by digging a small channel, underneath, towards the front. The same thing can be accomplished with a traditional fire pit. Just search for "smokeless fire" there is a ton of information out there. I had to hustle to come up with a workable solution on a doc shoot, in the past, where there was a real fire at play. Increasing combustion, using kiln dried hard wood and recording plenty of ambience along with close micing all worked very well in the end, with some creative editing. I believe they did end up using the lavs, along with the ambience recorded with a Sanken CS3e shotgun mic, which cuts background noise very effectively. Best of luck!

I try to get a sense of what talent will be wearing throughout the day, especially if there will be wardrobe changes and to what. Skin is often a great option, if the mic isn't going to get buried under layers of synthetics, or winter coats. As we enter the colder season we are probably going to continue to do plenty of work outside, so I'll fill my magic box of lavaliere goodies (what one cam op I work with regularly refers to it as) with plenty of options for both skin mounting, hidden in layers of clothing, as well as exterior blending. I've personally been asked to not hide the mic as much, on non narrative shoots, during the pandemic, even though I often explain it will take me no longer to do it in most situations. One more thing regarding mounting to skin. I find it much easier to teach talent how to place their own mic, when on skin, than any other type of scenario. Clearly this is only in a situation where I am unable to place the mic myself.

I had a 3.5mm headphone jack fail on my 664, beginning 2020. Obviously, still very dependable with the single 1/4 TRS, but I prefer everything is working 100%. I received the standard bench fee quote for the repair and opted to have them send the parts. I still haven't performed the repair. At the time I did not have a professional back up solution available, while waiting for the return of my main unit. I also like the idea of having the unit fully inspected and returned to factory spec and now have the Mix Pre 6 as a place holder. WAY back in the day I had two PD4's, for backup. DAT machines were terribly unreliable. Sending them in for maintenance every two years, was a give in. Still not a bad practice.

I just today put this together for run and gun shoot Philly tomorrow. MixPre-6 2 with the Hirose Power adapter, SRB RX, G3 TX for IFB/Cam hop, Hawk Woods Cup, Battery Bud 2, all in a small Petrol bag, that I have had kicking around for many years. I am bringing along my old Sound Devices 302 to drive a line, for the sit down interview portion of the shoot. I think I may have subconsciously put this kit together, so I'd have an excuse to use my beloved 302 again. My main kit uses a 664 and 3 x SRB's, but have had a handful of gigs over the last few years where I've wanted to shed a few pounds and build a second kit that I could wear all day and still fit through a crowd. Once the MixPre added a TC generator, among other features, I was sold. We'll see how it goes.

Eric, Thank you for serving the production sound community. Best of luck with whatever you decide to venture into next.

Committing to $25 annually. Thank you for keeping this critical resource, up and running.

Just listened to the entire interview. I like the sound bubble analogy, so true and a great way to explain mic placement to someone who doesn't record sound for a living. Definitely puts the Senator into perspective. I would have enjoyed him as a teacher, back in college.

I am putting a feeler out for a good client of mine. Can anyone recommend a sound mixer in Columbus, OH? Straightforward 1-3 person sit down interviews. Looking for someone with at least 5 years of experience and Lectro / Zax / Sound Devices equivalent gear. I will share rate, a few more details and contact info, once I have a good recommendation, but it is very reasonable. Let me know and thank you in advance.

I know this is a bit off topic, but am wondering if anyone has been having luck using the ListenTech LR4200 Receivers and more specifically as budget double system camera hops?

Thank you for everyone's reply. I appreciate and agree, with everyone's concerns. Everything I suggest to them, will be with a signed disclaimer. Something will definitely go wrong, at some point and this I have pointed out. These are folks that appreciate the value of hiring real sound professionals and are ONLY using this in very confidential and sensitive situations where only one person is allowed into a maximum security facility. If you can't bring the sound mixer with you, best next option is to tap into their knowlege / problem solving skills and make the best of it. With that said, thank you for the suggestion nickreich. I did some research and came across a couple promising, budget units, which I will test and swap out the lavs on, before delivering. I am going to suggest two units, on each person, one set at a very low level.