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How would you spend $15,000 on your first kit, BUY ONCE CRY ONCE


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Hey everyone.

I've been a boom op professionally in NYC for about 4 years now, but lately have decided to start buying some gear. I have taken out a loan of $15,000 and would love to buy a really smart, modest kit. I just really feel like its better to make a jump for the quality of gear I know I can get good sound with than to scrounge with crap. This would, in my mind be a small, but really solid start, probably not meant for features, but rather short films/docs/interviews, stuff like that.

SO, NOW, IF EVERYONE HAD $15,000 TO BLOW ON THEIR DREAM START UP KIT, HOW WOULD THEY DO IT?!

This is what I'm thinking:

Recorder: Think a Nomad 10 would be a good fit for me with its upgradable aspects and the zaxnet seems pretty perfect for the smaller 5d type shoots I imagine I'll be working on. So I'm willing to shell out the clams for it. Also, I think Prosound has a deal right now where you get a free ERX2 which I could use as a poor mans sync and scratch track - $5000

Wireless: Ok this is a really big thing I need advice on because I'm really torn here. My first desire is to just go all Zaxcom here. I've never really worked with all zaxcom before, usually just Lectros, and don't know how trusting I am in going with an all zaxcom wireless system, but am intrigued. Very intrigued. I also imagine I'll probably buy two sets of G3's just as a sorta shitty cheap 3rd and 4th channel (how well does that integrate?) So which option seems better: 1.) 2 zaxcom RX900S with 2 TRX900 2.) a QRX100 with two TRX900s 3.) Just go with 2 sets of Lectro UCR411A with some SM's or 4.) Cut my losses and realize I'm spending too much on wireless right off the back and just start out with like 4 sets of G3s $7200/$6800/$6200/$2400

Lavs: Would love to do COS11s, two of them, but might settle for trams. $900/$500

Boom: Like Loon a lot but will probably go Ktec for a little cheaper, would like around 12-15 feet. $700

Shotgun: Feel like to get quality sound with this kit this shouldn't be skimped on. Like the CMIT of course but also like the sanken cs3e so will probably go with that. $1500

Slate: I guess I can't be greedy and can't go with a timecode slate just let. So just a dummy.

Comteks: Would love to have a set of these, though fear with my budgeting I might not be able to. Certainly don't need a collection of ERX's but just a crappy set of comteks used would be great, like 3 or 4.

So with all the little pieces/cables/portabrace bag/etc I'm already pretty much at my limit if not probably over. Let me know what you guys would do and what advice you have on the stuff I've mentioned. Also, if anyone has a some old gear on the shelf thats just collecting dust and would like to sell any of it, let me know. THANKS

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If you have 100 days of real work lined up then there's no reason not to get any of the things you mentioned. You mentioned 5d shooting so it may take longer. (meaning you may not get your 1% day rate)

Are you mainly ENG or narrative or reality? Do you track 8 shouting people or mix a boom and some lavs? Are you mostly in a bag or on a cart? Do you think you should put all your eggs in only one mic or should you find a couple NTG-2s and some Oktavas? You'll also need shock mounts and wind protection.

As far as gear goes in a starter kit I would add at least one item. http://www.trewaudio.com/store/Adapt-a-Pak-Pro-Kit-APPKITPRO.html

Also, buy your XLR in bulk and build your own cables. So you'll need a soldering iron too.

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Yeah I realize shock mounts and windgear are lumped into the sorta "other" category but also nothing to be ignored, and expensive enough to just "poo poo." So really I think I should leave a good $1000 for things like this and batteries and also plan on buying a FatMax to store everything.

I have come from a narrative background mostly, doing features as a boom op/short film, but also have had short lived reality gigs. But, besides working with a lot of different mixers and seeing how each one works differently and what is smart and what isn't, I'm pretty ready for the jump to what I imagine will be mostly in the bag work. Would love to do some doc work frankly. But imagine, to answer your question, mostly be in the bag, and if allowed a boom op, would probably use the FatMax to just rest the bag for now.

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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

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You seem to have a good grasp on things.

I would buy a 50 and a 416 and 16' K-tek along with your Nomad, and build from there.

Wireless is tough. It seems foolish to not use Zaxcom if you're anchoring your setup on a Nomad, but it means not buying as many. But you can get used Lectro. You can resell later when you grow.

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don't forget a power system. That can get pricey. But changing a buch of AA's and 9volts constantly all day can be a real hassle.

This is actually something I have less than a great handle on. What type of power system do you think would be best. I knew a mixer who used his 788 with no power supply, just the camera battery in the back and laughed at him having to change it 4 times a day, let alone not having a backup.

Also, travis, was actually wondering to myself whether the cs-3e would be to hyper to start. I feel like it only sounds good when really directed well, and when doing something like docs or bag work, maybe something a little versatile would be better so I wil consider that.

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Hi, and welcome...

well, here we go again...

this one comes up every few months.

concept wise, not much has changed, just new selections of toys...

" You seem to have a good grasp on things. "

one comment caught my eye:

" Like Loon a lot but will probably go Ktec for a little cheaper, "

Loon product has not been available for well over a year!

" but am intrigued. Very intrigued. I also imagine I'll probably buy two sets of G3's just as a sorta shitty cheap 3rd and 4th channel (how well does that integrate?) "

then avoid cognitive dissonance (buyers remorse) and find out; rent some and try them... and if you believe that Senn Evo wireless is "shitty...crap" (most of us do not) then don't buy any, OTOH, many folks are doing quite a lot of work using them, and I've never heard anyone else say that a show 'would have sounded better if they had used a better wireless'. One tip with the Evo's is to upgrade the mic's, perhaps even to OST's, which will make a big difference, as well as providing back-up lav's.)

" I just really feel like its better to make a jump for the quality of gear I know I can get good sound with than to scrounge with crap "

While quality gear is important, it will not get that good sound by itself...

" working with a lot of different mixers and seeing how each one works differently and what is smart and what isn't, I'm pretty ready for the jump "

so what have you learned from all this observation?? then you should sit down with your favorite sales rep (not on commission!) and decide what to start with based on those observations, and maybe some rental experiences of your own!

also remember "all that other stuff", not just shock mounts and wind protection, but batteries (rechargeable AA and/or 9V, maybe NP-1's or other larger ones, cables, adapters, bag, spare cables, spare adapters, and more. this stuff will add up fast, and you'll also have payments to make on your loan.

What to buy is a very subjective and very personal choice.

you really need to be talking to our usual suspects

my advice is rent stuff a few times, then buy what you want; you have our permission.

Edited by studiomprd
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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.

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Don't forget the little things as they add up. Cables, bag(s), adaptors. Also, if you go through a dealer like Gotham or Prosound in NY you can negotiate a bit or ask them to throw in extras like cables. I'm not saying to be exclusive with a dealer, but the more you get from one supplier, the more wiggle room there is to throw in stuff as well as starting a long term relationship with built in customer support.

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TBH, I don't think $15k is really enough for a kit like you are describing. I've tallied my receipts in spreadsheets for tax purposes, and I've spent about $15k so far on equipment alone for a very basic kit (a lot of it used). If you can manage $20k I think you will be able to fit most of what you want in the budget.

The nomad and wireless are whats going to eat most of your funds. $10k easy just for the nomad and 2 wireless systems not including mics.

Having used the G3s in NYC for a while before upgrading, all I can say is that you will find their range beyond disappointing. You will get hits and dropouts from as little as 10' away (yes that is after scanning and trying multiple "open" freqs.). I still have a few units but I use them strictly for scratch audio and director feeds, and as a last resort wireless.

I bought a dummy slate and bring it to every shoot because in the 5D and T2i world most camera people never seem to have slates...

Places to save some money:

Mickey Mic Lavs - $125 each, good sound B6 style lav

Build your own cables - XLRs are not very difficult to make, LEMO and Hirose should probably be left to the pros unless you are very good with a soldering iron.

Buy used - I've had very good experiences from this site, and there are a lot of people who sell in NYC for face to face pickups

Good luck :)

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" (yes that is after scanning and trying multiple "open" freqs.). "

are you really checking frequencies, or just the very few preprogrammed frequencies ??

" in the 5D and T2i world most camera people never seem to have slates... "t

hen they don't know what they are doing, and besides, a dumb slate is a camera accessory...

" 5d shooting so it may take longer. (meaning you may not get your 1% day rate) "

that is a rather low $150 just for equipment, not including "you"...

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" (yes that is after scanning and trying multiple "open" freqs.). "

are you really checking frequencies, or just the very few preprogrammed frequencies ??

I can confirm this as well my G3's on channel 38 even with multiple scans will drop out even with the person in front of me, the range is shocking

Regards

Chris

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Having used the G3s in NYC for a while before upgrading, all I can say is that you will find their range beyond disappointing. You will get hits and dropouts from as little as 10' away (yes that is after scanning and trying multiple "open" freqs.). I still have a few units but I use them strictly for scratch audio and director feeds, and as a last resort wireless.

I have to agree here. I've had the same issues with G3's, but have managed to get by over the last 2+ years with just 3 (now 4) G3's. I would stay away from the G band in NY though (unless it's for camera hop or IFB). For me it appears to have the least amount of clean freqs compared to the A and bands.

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I have to agree here. I've had the same issues with G3's, but have managed to get by over the last 2+ years with just 3 (now 4) G3's. I would stay away from the G band in NY though (unless it's for camera hop or IFB). For me it appears to have the least amount of clean freqs compared to the A and bands.

Does anyone have a chart so I can see what channels are compared to blocks

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I worked with a mixer recently who was using a QRX100 as a double receiver for 2 TRX900s instead of, say, two RX900S. Does this make sense? He said it worked great but because it seems like its usually used as a camera feed I was wondering how people felt about using it in a bag as just a duel receiver. I realize this could probably be its own separate thread.

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TBH, I don't think $15k is really enough for a kit like you are describing. I've tallied my receipts in spreadsheets for tax purposes, and I've spent about $15k so far on equipment alone for a very basic kit (a lot of it used). If you can manage $20k I think you will be able to fit most of what you want in the budget.

The nomad and wireless are whats going to eat most of your funds. $10k easy just for the nomad and 2 wireless systems not including mics.

Max said the Nomad10 is about $5,000 with an ERX2 (though an ERX2 is not an ERX2TC!)

Trew's site is easy to see the models/prices: http://www.trewaudio...r-Recorder.html

Nomad Lite is about $4k, and almost $5k for the 10 (with Zaxnet etc).

Say:

$5,000 for the Nomad10

$5,500 (approx) Zaxcom QRX100 and 2 TRX900LA transmitters (the LA is the 2xAA model, highly suggested)

$1000-$1500 shotgun mic

$600 ish boom pole

$200 bag

$ ??? DC bag power system (so many options) + batteries (batteries=$$$$) The IDX NP batts are about $200/battery plus a charger.

That's why some people are going with Batteries4Broadcast or Global Media Pro or something else. http://batteries4broadcast.com/np1.htm for example. There are threads about other things people are using.

There are threads here about http://www.oscarsoundtech.com lavs. They seem pretty good, especially for the price. You won't cringe every time somebody is abusing your COS11D. Countryman lavs are also a great value, and waterproof. I have somehow wrecked more B6 than COS11 lavs, but that may be an anomaly.

I would come up with an educated list of the major things you want (recorder, wireless, shotgun) and approach the dealers and see what they come up with. That's a good chunk of cash to spent by anyone's measure. If they know you are building a whole kit, see what they include to get the sale.

These are prices for new stuff, as opposed to used. Swapping the Zaxcom wireless for two sets of used 200 series Lectros would save some $, and still be very solid.

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I worked with a mixer recently who was using a QRX100 as a double receiver for 2 TRX900s instead of, say, two RX900S. Does this make sense? He said it worked great but because it seems like its usually used as a camera feed I was wondering how people felt about using it in a bag as just a duel receiver. I realize this could probably be its own separate thread.

Rado is using 2 or 3 QRX receivers in a bag with his Nomad. Each one is picking up 2 transmitters. He's even using the AES out of the QRX to keep it all digital.

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