Umut

Chris, Thank you for the insight. Surround and stereo mic pairs are mainly for recording ambiences, room tones, wild lines etc. (although I already need the mics I'll use for stereo pairs, the only extra is the stereo bracket - and having them matched-pair"). The updated list (you may find above) doesn't have the Sennheisers. Comtek is a good idea, thanks! Regarding the JoeCo and Onyx, I already changed my mind I believe I'll go with Yamaha O1V96i w. DANTE and Sound Devices PIX260i. The more I read about Pix260, the more I love her

There was a reason why this list was posted under "Equipment". Some of the comments included advices which I tell my students at the beginning of the semester, as the very first lecture. Some of the comments sound like the authors got offended by my equipment list. Some of them wishes me good luck sarcastically. I really cannot understand. This is (supposed to be) an equipment discussion. If you believe that I will not be able to do the job, simply ignore/do not follow this discussion; I will not be proving anything to you. If you have an idea about improving the list, please share; I will consider and gratefully buy you a beer when we actually meet. Please keep in mind I may not have the experience you got, but may have most of the skills, experience and knowledge most of you assumed I do not. Trying to improve a skill set is a plus for an engineer, not something to criticize or discourage. Otherwise Nick Allen would have never done multitrack music recording. I would never do this to a location engineer getting interested in FOH or studio recording. I would say "Hey! All in all, the fundamentals are the same: gain staging, mic selection, mic placement, clean signal transmission, communication, monitoring, metering. clocking etc. etc. etc.". Thanks to the ones who chose that way Marc, Thanks for the tips, I agree with them all, including the channel count for film. This system is required for a special task and may need more than 8 channels. I am not sure if you checked the updated list or not (I posted it again below), there are solutions for TC, power etc. and I would love to hear your thoughts about them. I'm open to any ideas which would improve the system. Unfortunately, I cannot talk about the details at this very moment, but here is the summary: My aim is to have a flexible state-of-art base which will let me do theater/film/broadcast when needed in the future (of course with some additions), this is why I want 24 channels. To have state-of-art gear To have the option of having the bag and the cart running on different locations at the same time in the future (with addition of another wireless system). To be able to record in surround when needed (with further improvements in mics) Max, I am not necessarily planning to use the DPA 5.1 mic on set (although I might), but the main purpose is to record ambiences, room tones, wild lines etc. I have been considering a number of microphones, but this one looked the most convenient. And I don't remember myself regretting using a DPA ever Toy Robot, I understand what you are saying, and you are probably right, but I take pride in what I do for a living and cannot tolerate stereotyping or prejudgment (especially from colleagues). Studiompr, I am not here to discuss my qualities, I'm sorry. --- So here's the updated setup: Multitrack wireless system: Lectrosonics - VR Field Lectrosonics SMQV Tx x6, Lectrosonics VRT Rx x6 Lectrosonics - ALP650L LPDA Shark Fin Style Antenna with Internal RF Amplifier x2 Lectrosonics - 50 Ohm Coaxial Cable for Remote Antennas (25') x2 LectrosonicsSNA600 - Collapsible Omnidirectional Dipole Antenna Recording (8 to 24 track): Sound Devices 788T-SSD 8-Track + CL WIFI Yamaha O1V96i w. DANTE Sound Devices PIX260i Microphones: (maybe I'll have t give up on some) Schoeps - CMIT WS4 SET - CMIT5U Shotgun Microphone Set (w/ Rycote - Windshield Kit) Schoeps 2 x CMC6/41 (matched pair) Schoeps GVC x2 Sennheiser MKH-416 (w/ Rycote - Windshield Kit) Sanken - CSS-5 Stereo Shotgun Microphone (w/ Rycote - Windshield Kit) DPA Microphones - 5100 Mobile 5.1 Surround Microphone Crown Audio PZM-6D Pressure Zone Microphone Crown SASS P MK II Stereo PZM Sanken - CUB-01 Miniature Cardioid Boundary Microphone x2 Peter Engh - OMNIGOOSE 6" GOOSENECK MIC w/TA5/F LEC IFB: Comtek - M-216 - Digitally Synthesized Wireless Transmitter (Option P7) Comtek - PR-216 Beltpack IFB Receiver (216-217 MHz) x 2 Lectrosonics - IFBT4 Frequency-Agile IFB Transmitter Lectrosonics - IFB-R1a UHF Belt-Pack Receiver TC: Timecode Buddy Wifi Master + Tx x2 + iPad (Slate) Power: Xantrex Freedom SW New Gen (inverters/charger) Dolgin Engineering - TC200-SON Battery 2-Position Sony - NP-F970 L-series Info-Lithium Battery 2 Pack (7.2v, 6600mAh) x2 SWIT S-8056N 70Wh NP-1 Li-ion Battery x2 SWIT SC-304 NP-1 Battery Charger Cart/Case/Bag (Still researching about the bags and other cart solutions, I'll have to try them first to decide, suggestions are welcome) Monitoring: Sennheiser - HD 380 Pro x3 Sennheiser – HD 280 Pro Accessories: Various boom poles, stands, ORTF/XY/MS mounting brackets, handgrips, cases etc. Latch Lake MicKing 3300 mic stand Radial Engineering - JS-2 - Two-Way Microphone Signal Splitter x2 Isolation: Sound blankets (Producer's Choice) x4 sE Electronics - Reflexion Filter PRO (for wild lines on location) Any comments, suggestions and ideas would be highly appreciated.

cwsound, Thanks for your concerns. Grant, This is what I said: "I am an audio engineer and an instructor. I have a music engineering background (surprise!), worked mostly as an FOH and monitoring engineer since 2004, before I came to USA. I also did a lot of multitrack studio recording and mixing. I have been teaching audio engineering at college level since 2010 and got interested in film sound since I moved to NYC 1.5 years ago. I hold a B.Sc. in electronics engineering, pre-master's in music production and an MFA in audio engineering. My budget is around 50k and my aim is to have a state-of-art production sound kit. I have been (and am currently) doing production & post-production for a few shorts and a feature" Thank you all for your comments. I will be posting the developments here. Best, Umut

Pedantic Sound, Of course people have rights to question the validity of the investment for the given task when asked for advice. But you'll see that the comments I have been criticizing basically told what I did not know or what experience I lack, to the extent of insulting, w/o knowing my background and skill set, and I refuse to tolerate that as a professional audio engineer.

studiompr, All due respect, but if a location engineer asked for my advice regarding multitrack studio recording gear, let's say SSL Duality or API Vision consoles, I would just let him/her know what I think he/she needs to know at that moment. Discouraging him/her immediately or starting lecturing him/her regarding multitrack studio recording w/o knowing his/her background would be the last thing I do. If I believe he/she is trolling, I would simply ignore him/her. Food for thought. Best, Umut

Jan McL, Thank you very much for the invitation, I will be more than happy to join you this weekend! Looking forward to meeting you. Boomboom, I definitely will. Cheers, Umut

Because I wanted to know others' opinions about the setup I prepared. The more experienced I get, the more opinions I ask. I do not understand why and how having an audio engineer with a different professional background asking questions about your discipline makes you judge his/her qualifications immediately. It almost sounds like "we don't like strangers here!", so that you know. As I tried to explain before, I am not here to discuss if I am a qualified engineer or not. Astonished to see how a gear discussion got here. Best, Umut

Studiomprd and Grant, Thanks for your comments but, I do not consider myself as an inexperienced engineer. Additionally, according to my experience, "I hope you do not get fired" is not the nicest thing to say to a colleague you just e-met, especially w/o knowing his/her work . But again, it is my humble professional opinion. Anyways, thanks again for your comments. Best, Umut PS: Once again, I personally used Mackie for remote recordings and do not consider it below "high level". I do not understand why this discussion became "ad hominem".

Hello everybody, I started a collaborative playlist on Spotify where anybody can add his or her "reference" songs some time ago. The main idea is to have a database of good productions from all genres. I'd be happy if you listen, subscribe and contribute. Thanks, and I hope you enjoy the list. Cheers, Umut

Thank you again Robert and Philip, I hope I'll find a chance to thank you in person for the insight and help in the future. Cheers, Umut

Thank you very much for all your comments and concerns. If I understand right, the major concern here is me not getting jobs and the system being overcomplicated. Again, I would like to remark that I have a special case, the arrangements are done and the deal is about having state-of-art bag and the cart systems and being able to record in surround when needed. So I believe the system meets the requirements for the given task. But I know that there is always some room for improvement, so am willing to consider any changes you recommend. Speaking of which, Robert, I thought 2 different mixes feeding 3 IFB receivers was enough, but perhaps you are right; I might have underestimated IFB. Any alternatives or changes in mind? I totally agree with you on getting work before investment, which is my case. I quit investing w/o securing income after an unsuccessful recording studio adventure in 2004. Vasileios, kalimera, I'm not gonna lie, I didn't actually understand what you meant Rick, thank you very much for your concern, I'll make sure I buy nothing w/o securing the income. Studiompr, thanks for the feedback and recommendations. I appreciate your opinions, but I sincerely believe you are passing judgments regarding my qualifications and experience a little too fast. But I do agree with you regarding importance of some recording aspects such as location and noise, and I think having the least possible circuitry before tape is also very important. About Onyx, it is a very nice piece of pro-audio gear in my opinion and I am fond of the preamps. Regarding surround, I believe surround location recording is way underestimated and will gain more importance in the future. I find it not that easy to record in surround with a decca tree or double MS arrays on set in terms of practicality, continuity etc., whilst it is very convenient to place a good sounding surround mic on a stand and record in surround. It can save a lot of post-production time (and of course money) and improve the final mix a lot (e.g. room tones). Thanks again for all of the comments! I appreciate all of your concerns and suggestions, and am willing to consider any changes which will improve the system! Best, Umut

I was very happy with Yamaha O2R, and I believe they use the similar circuitry including gains and AD in O1V96i, and it seems like all the production sound engineers love it, so I believe the AD conversion and digital transmission via DANTE card will be just fine (as much as I like the idea of having Onyx's gains -and maybe some of the prefader processing- and having the AD in JoeCo). But, having HD video recording, audio/video monitoring, file sharing via ethernet, immediate file backup, network control etc. options and 32 ch with this bad boy: SD PIX260i is just too good to miss I think I'll be using 2TR inputs of the O1 for monitoring [the recorder]. Just checked the manual and saw that 2TR inputs are unbalanced RCAs, so what I need is just a male-male stereo TRS to 2 mono RCA cable to feed the 2TR input from Pixie's HP out

Tom, Thank you very much for your comments, they are very insightful. And you are right! I did forget about Onyx and JoeCo already. Having Yamaha O1v96 with Dante card feeding SD PIX260i is a brilliant solution. (I looked over the fact that there is a Mini-YGDAI (16-in/16-out) option in digital I/O section of the O1, thank you very very much your recommendation!). Regarding the business plan, you are raising valid questions and your points make perfect sense. As much as it sounds impractical, I have a special case and some business arrangements are already done, so I do need a cart and a bag setup. And I think your three separate rig idea sounds very cool, I will keep that in mind. Jim, Thank you very much for the update! I'll be waiting for it. So here's the updated setup: Multitrack wireless system: Lectrosonics - VR Field Lectrosonics SMQV Tx x6, Lectrosonics VRT Rx x6 Lectrosonics - ALP650L LPDA Shark Fin Style Antenna with Internal RF Amplifier x2 Lectrosonics - 50 Ohm Coaxial Cable for Remote Antennas (25') x2 LectrosonicsSNA600 - Collapsible Omnidirectional Dipole Antenna Recording (8 to 24 track): Sound Devices 788T-SSD 8-Track + CL WIFI Yamaha O1V96i w. DANTE Sound Devices PIX260i Microphones: (maybe I'll have t give up on some) Schoeps - CMIT WS4 SET - CMIT5U Shotgun Microphone Set (w/ Rycote - Windshield Kit) Schoeps 2 x CMC6/41 (matched pair) Schoeps GVC x2 Sennheiser MKH-416 (w/ Rycote - Windshield Kit) Sanken - CSS-5 Stereo Shotgun Microphone (w/ Rycote - Windshield Kit) DPA Microphones - 5100 Mobile 5.1 Surround Microphone Crown Audio PZM-6D Pressure Zone Microphone Crown SASS P MK II Stereo PZM Sanken - CUB-01 Miniature Cardioid Boundary Microphone x2 Peter Engh - OMNIGOOSE 6" GOOSENECK MIC w/TA5/F LEC IFB: Comtek - M-216 - Digitally Synthesized Wireless Transmitter (Option P7) Comtek - PR-216 Beltpack IFB Receiver (216-217 MHz) x 2 Lectrosonics - IFBT4 Frequency-Agile IFB Transmitter Lectrosonics - IFB-R1a UHF Belt-Pack Receiver TC: Timecode Buddy Wifi Master + Tx x2 + iPad (Slate) Power: Xantrex Freedom SW New Gen (inverters/charger) Dolgin Engineering - TC200-SON Battery 2-Position Sony - NP-F970 L-series Info-Lithium Battery 2 Pack (7.2v, 6600mAh) x2 SWIT S-8056N 70Wh NP-1 Li-ion Battery x2 SWIT SC-304 NP-1 Battery Charger Cart/Case/Bag (Still researching about the bags and other cart solutions, I'll have to try them first to decide, suggestions are welcome) Monitoring: Sennheiser - HD 380 Pro x3 Sennheiser – HD 280 Pro Accessories: Various boom poles, stands, ORTF/XY/MS mounting brackets, handgrips, cases etc. Latch Lake MicKing 3300 mic stand Radial Engineering - JS-2 - Two-Way Microphone Signal Splitter x2 Isolation: Sound blankets (Producer's Choice) x4 sE Electronics - Reflexion Filter PRO (for wild lines on location) Any comments, suggestions and ideas would be highly appreciated.

Hello again everybody, I cannot thank you enough for your feedback. After carefully considering your valuable comments and some research, I believe I have come to a better understanding of which setup serves my purpose best. At first, I had the idea of having two individual wireless mic systems for the bag and the cart. But now I believe having a solid 6 ch wireless system which could be used both in the bag and the cart would be the best solution. Having a Yamaha O1V96i sounded like a very nice improvement on the cart at first, however, after reading the specs I've realized that it will bring more harm than good because of its limited analog and digital I/0 capabilities, even though it offers great versatility in terms of mixing. I did look for other reliable “petite” digital mixers which offer AES/EBU outs, but failed to find one. Therefore I decided to go analog and use the good ol' Mackie Onyx 1640i (I really like the preamps), and do the AD conversion in 788T and JoeCo. I also added a few more microphones to be more flexible. To summarize, my main aims are: To have state-of-art gear To have the option of having the bag and the cart running on different locations at the same time in the future (with addition of another wireless system). To be able to record in surround when needed (with further improvements in mics) Here is my setup: (≈ 60k) Multitrack wireless system: Lectrosonics - VR Field Lectrosonics SMQV Tx x6, Lectrosonics VRT Rx x6 Lectrosonics - ALP650L LPDA Shark Fin Style Antenna with Internal RF Amplifier x2 Lectrosonics - 50 Ohm Coaxial Cable for Remote Antennas (25') x2 LectrosonicsSNA600 - Collapsible Omnidirectional Dipole Antenna Recording (8 to 24 track): Sound Devices 788T-SSD 8-Track + CL WIFI Mackie Onyx 1640i JoeCo BBR1-B BLACKBOX RECORDER Microphones: Schoeps - CMIT WS4 SET - CMIT5U Shotgun Microphone Set (w/ Rycote - Windshield Kit) Schoeps 2 x CMC6/41 (matched pair) Schoeps GVC x2 Sennheiser MKH-416 (w/ Rycote - Windshield Kit) Sanken - CSS-5 Stereo Shotgun Microphone (w/ Rycote - Windshield Kit) DPA Microphones - 5100 Mobile 5.1 Surround Microphone Crown Audio PZM-6D Pressure Zone Microphone Crown SASS P MK II Stereo PZM Sanken - CUB-01 Miniature Cardioid Boundary Microphone x2 Peter Engh - OMNIGOOSE 6" GOOSENECK MIC w/TA5/F LEC IFB: Comtek - M-216 - Digitally Synthesized Wireless Transmitter (Option P7) Comtek - PR-216 Beltpack IFB Receiver (216-217 MHz) x 2 Lectrosonics - IFBT4 Frequency-Agile IFB Transmitter Lectrosonics - IFB-R1a UHF Belt-Pack Receiver TC: Timecode Buddy Wifi Master + Tx x2 + iPad (Slate) Power: Xantrex Freedom SW New Gen (inverters/charger) Dolgin Engineering - TC200-SON Battery 2-Position Sony - NP-F970 L-series Info-Lithium Battery 2 Pack (7.2v, 6600mAh) x2 SWIT S-8056N 70Wh NP-1 Li-ion Battery x2 SWIT SC-304 NP-1 Battery Charger (I didn't want to have power distribution from one source in the bag) Cart/Case/Bag Gator Cases – GRC-10X11PUP > I have used them a lot, and I believe it'll be (maybe a little big & heavy, but) a solid solution, with some modification. (Still researching about the bags and other cart solutions, I'll have to try them first to decide, suggestions are welcome) Monitoring: Sennheiser - HD 380 Pro x3 Sennheiser – HD 280 Pro Accessories: Various boom poles, stands, ORTF/XY/MS mounting brackets, handgrips, cases etc. Latch Lake MicKing 3300 mic stand Radial Engineering - JS-2 - Two-Way Microphone Signal Splitter x2 Isolation: Sound blankets (Producer's Choice) x4 sE Electronics - Reflexion Filter PRO (for wild lines on location) Any comments, suggestions and ideas would be highly appreciated.

Thank you very much for the update Robert, the information you provided is very helpful. And I believe I was not successful about expressing myself and misspoke while trying to make a joke (I blame the culture-difference ). What I really meant was the quality of production sound for low budget projects (which I was mostly working on) was below industry standards. Otherwise, I know that there are many distinguished audio engineers in the city (I simply couldn't find the chance to work with them yet) and I believe and hope this investment will help me to work with (and hopefully become one of) those qualified professionals. My aim is to have a flexible state-of-art base which will let me do theater/film/broadcast when needed in the future (of course with some additions), this is why I want 24 channels. However, all of the feedback I receive right now is very important to me and am willing to consider any change which can improve the idea (including having 8 channels). The budget is flexible to a certain degree.