Max Hirtenstein Posted August 17, 2012 Report Share Posted August 17, 2012 Thinking along the lines of a 744t or SRa with two transmitters. Which one would you guys buy first when building a kit? Cheers Max Quote Link to comment Share on other sites More sharing options...
DecentSound Posted August 17, 2012 Report Share Posted August 17, 2012 What wireless do you have now, what mixer do you have and what types of projects will you be working on? Quote Link to comment Share on other sites More sharing options...
Jack Pender Posted August 18, 2012 Report Share Posted August 18, 2012 Buy a Nomad and sell your mixer to buy wireless. Win win. Quote Link to comment Share on other sites More sharing options...
Michael McQueen Posted August 18, 2012 Report Share Posted August 18, 2012 depends on what kind of jobs you're doing. but i think professional wireless is one of the more important things in any audio kit. Quote Link to comment Share on other sites More sharing options...
RPSharman Posted August 18, 2012 Report Share Posted August 18, 2012 Used --- 302, 702T, 2x 211s and SMs It'll get you a long way. Quote Link to comment Share on other sites More sharing options...
Max Hirtenstein Posted August 18, 2012 Author Report Share Posted August 18, 2012 yep currently I have a 302+DR680 combo, and senn g3's. for most shoots I either borrow or rent lectros though. that said I've had to pass on a bunch of gigs recently for not having a 744t. considered the 702t, but don't want to give up ISO's for timecode. Quote Link to comment Share on other sites More sharing options...
Steve Foy Posted August 18, 2012 Report Share Posted August 18, 2012 "That said I've had to pass on a bunch of gigs recently for not having a 744t" I think you just answered your own question. Quote Link to comment Share on other sites More sharing options...
Alan H. Chang Posted August 18, 2012 Report Share Posted August 18, 2012 yep currently I have a 302+DR680 combo, and senn g3's. for most shoots I either borrow or rent lectros though. that said I've had to pass on a bunch of gigs recently for not having a 744t. considered the 702t, but don't want to give up ISO's for timecode. haha, you would think that a 744T sells the gig, but not. I either do a 702T or up the ante to a 788T. Sold the 744T 2 years ago because I'm not a tracker and most clients were requesting the 744T. Last week, I mixed 7 lavs and 2 booms down to a 702T. No fuss. Most of the time with 744T jobs requests a lot for boom + 3 lavs for all ISO, which is NOT what I offer. Once you've established yourself as a mixer and not an ISO tracker, clients will always keep that in mind. Re your Q about 744T/SRa, I would go with the SRa. More sources > # of available recording channels. Quote Link to comment Share on other sites More sharing options...
Martin Kittappa Posted August 18, 2012 Report Share Posted August 18, 2012 I started out with a sound devices 442, a Sennheiser 416, a couple of Sennheiser G2s and breakaway cable. That got me a whole lot of work as an ENG mixer back in the day. My next purchase was the 744T which I used with the 442 mixer then one by one I added Lectrosonics wireless kits as I could afford them. That kit kept me working for long time. I now run a 788T with multiple wireless, Camera hops etc, however even now on a simple ENG work that doesn't need a recorder The 442 comes out and I'll just run a couple of the LEctros onto it. The 744t stays in my car just in case the something disasterous happens to my 788T so at least I have a back up. That's just the way I did it, but it may not be the right direction for you- especially in the world of DSLR shooting. I started out pre 5D/7D. Most of my early beginner shoots were on Digi Beta, Canon XL2s and Sony PD170s which had the dual XLR so I rented in a recorder only when I worked on film (Yes Super 16 and 35mm remember those days!). In the end you have to look at the kind of work you are mostly getting and buy your gear to meet those needs as you can always rent in equipment if you pick up a job that requires something different. Quote Link to comment Share on other sites More sharing options...
Matt Bacon AMPS Posted August 18, 2012 Report Share Posted August 18, 2012 yep currently I have a 302+DR680 combo, and senn g3's. for most shoots I either borrow or rent lectros though. that said I've had to pass on a bunch of gigs recently for not having a 744t. considered the 702t, but don't want to give up ISO's for timecode. I would ask yourself what will pay for itself first? Lectros or 744T?? That way you'll be able to afford the next piece of kit. I've worked this way since being freelance and now own multiple sound kits including a 788, 552 and 8 x Lectro wireless units etc... all of which have paid for themselves Sometimes you need to put your business hat on and not go with the emotional purchase. Quote Link to comment Share on other sites More sharing options...
Philip Perkins Posted August 18, 2012 Report Share Posted August 18, 2012 yep currently I have a 302+DR680 combo, and senn g3's. for most shoots I either borrow or rent lectros though. that said I've had to pass on a bunch of gigs recently for not having a 744t. considered the 702t, but don't want to give up ISO's for timecode. If you have a solid and convenient rental source for the wirelesses then I guess I'd get a TC-capable recorder, as you said. 744T prices have fallen a lot this year, there are some good deals around. But here in the SF area sooner or later you will get caught on a last minute job with your regular rental not avail--so you'll end up getting more wirelesses anyhow, eventually. phil p Quote Link to comment Share on other sites More sharing options...
Richard Thomas Posted August 18, 2012 Report Share Posted August 18, 2012 Totally depends on the work you're getting, and what's going to get you extra rental. I've gone for the qualtiy wireless option because I've had so few jobs where they've asked for TC workflow, and it makes a noticeable sonic difference- but that's just my experience. I picked up a cheap tascam HD-P2 which will do timecode, just in case of last minute gigs- but it's only been used a few times and production often seem to be too tight to hire lockits (£10/day..). Quote Link to comment Share on other sites More sharing options...
Max Hirtenstein Posted August 18, 2012 Author Report Share Posted August 18, 2012 Totally depends on the work you're getting I hear that but I'm concerned about the work I'm NOT getting. I'd like to be in the position of saying 'yes' to more gigs that come along. I would ask yourself what will pay for itself first? I guess that's what I'm asking all you guys! Thanks for all the perspectives. Quote Link to comment Share on other sites More sharing options...
RPSharman Posted August 18, 2012 Report Share Posted August 18, 2012 I hear that but I'm concerned about the work I'm NOT getting. I'd like to be in the position of saying 'yes' to more gigs that come along. Then say 'yes'! They don't care what you own, only what you show up with. Get the job and rent the gear the first time or two. Once they start calling you more regularly, then buy the gear so you're not wasting money on rentals. But don't say 'yes' unless they're paying you more than your current equipment rate, so you can justify the rental. Quote Link to comment Share on other sites More sharing options...
Matt Bacon AMPS Posted August 18, 2012 Report Share Posted August 18, 2012 Then say 'yes'! They don't care what you own, only what you show up with. Get the job and rent the gear the first time or two. Once they start calling you more regularly, then buy the gear so you're not wasting money on rentals. But don't say 'yes' unless they're paying you more than your current equipment rate, so you can justify the rental. I quite agree! If production are going to pay for the additional kit then great but certainly don't give it away for free. They are not a charity after all. Providing you are sure you can hire the gear every time (and you know how it works) then say yes. With regards to what will pay for itself first... Lectro kit or 744 then annoyingly only you can say as everyone has different work patterns. I'd argue that you won't be paid anymore for providing Lectro's over your G3's (but you'll hear the difference!) as part of your standard kit. They will bring in extra income if used as a wireless link but you tell us how many jobs could you get them on? They are not yet considered the norm in the UK yet so the production manager often needs convincing to pay the extra where as if they need a Timecode recorder they are prepared to pay for it. I often find they go hand in hand (which isn't the answer you want to hear). If I use my 788T I am 90% using my Lectro wireless hop. Quote Link to comment Share on other sites More sharing options...
Max Hirtenstein Posted August 19, 2012 Author Report Share Posted August 19, 2012 10-4 fellas, cheers. Quote Link to comment Share on other sites More sharing options...
Zack Posted August 19, 2012 Report Share Posted August 19, 2012 Once you've established yourself as a mixer and not an ISO tracker, clients will always keep that in mind. Who besides us knows the difference really? What about those that do both? Either way, you're establishing yourself as the default term more commonly said as, "The Sound Guy". Quote Link to comment Share on other sites More sharing options...
studiomprd Posted August 19, 2012 Report Share Posted August 19, 2012 " I'm not a tracker and most clients were requesting the 744T " well... if clients want ISO tracks to pass on to the next step, then that is what we give them, and nothing wrong with being a good tracker, even if you don't like it. the real clients usually tell you about the gig, and not what equipment they want, though in a lot of cases depending on the situation and their needs and style of working, etc., they may tell you what their other, or more regular crew use, which can help you understand what you need. Quote Link to comment Share on other sites More sharing options...
Max Hirtenstein Posted August 20, 2012 Author Report Share Posted August 20, 2012 update: selling my gear to buy a Maxx, and I'll still have some money for wireless too. win-win. Quote Link to comment Share on other sites More sharing options...
Shastapete Posted August 20, 2012 Report Share Posted August 20, 2012 Just remember it is still 4+ months away. Counting chickens, hatching, etc. Quote Link to comment Share on other sites More sharing options...
atheisticmystic Posted August 21, 2012 Report Share Posted August 21, 2012 Max, When I made my last substantial purchase, I opted for wireless units over a recorder, as I spent more money on renting multiple wireless kits than whatever single recorder I needed for a specific gig. Shasta Pete, are you from Shasta County? Steven Quote Link to comment Share on other sites More sharing options...
Marc Wielage Posted August 21, 2012 Report Share Posted August 21, 2012 I agree with Steven: if I had to make a choice early on, it would probably be for wireless over recorder, provided I had the means to rent or borrow a recorder when necessary. But it depends on your specific market and clientele. Quote Link to comment Share on other sites More sharing options...
Shastapete Posted August 21, 2012 Report Share Posted August 21, 2012 Shasta Pete, are you from Shasta County? Steven Nope, Brooklyn. The user name comes from a 10 year old inside joke/nickname from college. Quote Link to comment Share on other sites More sharing options...
sergiofucchi Posted August 22, 2012 Report Share Posted August 22, 2012 yep currently I have a 302+DR680 combo, and senn g3's. for most shoots I either borrow or rent lectros though. that said I've had to pass on a bunch of gigs recently for not having a 744t. considered the 702t, but don't want to give up ISO's for timecode. TC is not essential in film production, but it should be in TV or other eng production. Tascam DR-680 has six tracks. SD 744 has four tracks. I synchronize my DR-680 to video using ciak in film production. In Italy we always use it, Quote Link to comment Share on other sites More sharing options...
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