Assistance Needed with Sound Kit

[VASI]

Why you go to buy all of this stuff?

[dominiquegreffard]

A few follow up questions for the board:

1. Typically, how long should my cable be from the recorder I'm carrying to the back of the boom pole? Is 6' adequate?

2. Since the MKH 50s will be only used indoors, I presume that there will be no need for fuzzies.

Is it necessary to carry an extra set of foam windscreens?

3. Guessing that 25' would be adequate for my cable runs, would you recommend other lengths such as 30' or 50'? I could always get a couple extra 25 footers to use as extensions, if necessary.

4. The Sanken wireless come in black, grey, and white. Is there any reason to get one color over the other?

5. Lastly, the Sennheisers come in three frequencies: 516-588; 556-608; and 626-668. Generally, is there one that is preferred? Should I get all four mics in the same frequency block?

Thank you.

1: i d do coiled cable 1' long retracted up to 6'. K tek have a cheap version, loon have a quality one.

2: correct or maybe just get a cheap slide on fuzzy. No full rycote modular. I use my 50 almost always inside.

3: i d do one long 40' and one short 20' that you could use as extension. Make sure they re compatible.

4: black is pretty standard but a white one with white accesories comes handy when talent wear white. I d say 3 black and 1 white. I wire them 5' long. You might want to consider oscar sound tech tl-40 lavs because they are 90% there sound wise but a 1/4 of the price.

5: you re gonna have to do your homework ( contact manifacturer ) to pick the best frequency block but i suggest staying in same block since later down the line you ll be likely to use this wireless as a ifb pack so you want compatible stuff.

And frankly, i suggest you either just do sound or hire somebody that knows. You can t do both good. We ve been too good with you now.

Good luck

[chrisnewton]

Hi LC. I have a couple of questions for you: what countries are you going to? G3s are probably good most places. Will you feed sound to the black magic camera from your mixer/recorder? 1/4" inputs I believe on the unit. if this is a classroom situation a wireless lav on the teacher/lecturer is a good idea. If you have light stands in the package for camera, a Boom Buddy or mafer/grip clamp might be handy rather than carrying the K & M stands (they'll get heavy fast if you have to carry them around a lot). You can attach your boom pole to a light stand with the Boom Buddy/mafer clamp for sit down interviews etc. Folding light stands are generally less heavy. Big +1 for a 416 and the MKH 50. I like the ATM50 headphones, but they are big and the folding headphone mechanism broke on mine (I'm hard on headphones) Sony 7506 very tough and reliable. bring a spare set of headphones and some earbuds. bring along a Zoom/Tascam type recorder as backup and for ambiences. could save your bacon. What is yourplan for syncing picture and sound files? do lots of workflow testing before you leave home. happy trails!

Chris Newton

[L C]

dominiquegreffard--


Thanks for the info. I do appreciate it. And YES, this board has been very good with me.

The reason for not getting a sound person is straightforward:

1. I don't have the money for it.
2. The project is long term: I am planning on being on location between 8–10 months, shooting throughout the entire period.
3. It is located in a country (unnamed) that is very difficult for most people just to gain access into.

I have a rare opportunity to explore the locale firsthand and interact closely with its people. Already, I've spent a year in development. It's a project I'm very passionate about and one with a strong and meaningful story. There is no well-heeled sponsor—I'm self-financing.

Also, the project is a documentary, not a feature film. I believe people with be okay with the eventual delivery of audio. The first time in, I recorded with a small digital camera and handheld recorder, and even that sound on playback was fit for use. Next trip, everything will be far superior.

The opportunity to work with a dedicated and experienced team... ahh. It would be wonderful to live in a perfect world. Unfortunately, I don't. What I can do is make the best with what I have and let my limitations become catalysts for more original and creative work.

Again, my thanks for helping me to the next step of the journey.

[L C]

chrisnewton--

 

 

Thanks for the information. It all really helps out.

 

Sound will be recorded separately. I will sync it up later in post. I have done this successfully in the past using PluralEyes. I will only run scratch audio into the cameras (I will be using two). The preamps just aren't good enough.

 

I'll look into the Boom Buddys—could be a back-saver

 

The AT headphone issue came up earlier. I choose the AT over the Sony because it was more comfortable. Sound was comparably close. I will, however, make the change. I will be taking over a couple sets of earbuds.

 

Regarding handheld recorders, I had a Marantz 661 I really liked. It was very robust! It may be worthwhile to pick up another one. I don't care much for the Zoom. The Roland R-26 would be my second choice, though it's noisy if you handle it directly. The new Tascam DR-60D looks interesting, but perhaps a bit bulky.

[L C]

 chrisnewton--

 

Chris, just as a quick follow up, the Boom-Buddy is very cool! It solves an issue I was struggling with. Thanks!

[RPSharman]

Used 744T - lots of them around. Reliable and available globally if you need a replacement for any reason. Cheaper than a Maxx, which will be new and untested.

MKH50s and a 416 and an NT4 is a good choice.

Lots of other good advice here, including finding a professional sound person in your location. We're all over the place, have excellent gear, and will likely not make the kind if mistakes you can make and ruin your doc. It's hard to wear a lot of hats and stay focused on so many tasks.

When you get back and want to offload your gear, please contact me.

Robert

[L C]

RPSharman--

 

 

Robert,

 

Thanks for taking the time to corroborate equipment choices.

 

Regarding the 744T, I would love to use that unit. At a street price of around $4,200, isn't it more expensive than the Maxx which I understand will be $2,395 (per Trew Audio's storefront)?

 

My plan B with the recorder is a SD 702 and Marantz 661 handheld.

[RPSharman]

My suggestion was a used 744T over a new Maxx. It also has an internal drive, which I consider an advantage. FireWire port can also run a 2nd CF with external card trader.

[Michael Gassert]

i agree with all the great advice on this thread.   having participated in a range of international projects, some in some very sketchy locations, there are some other things to keep in mind:

 

*security of your gear may seem obvious.  but as a one man band, the more gear you're soly responible for, the more vulnerable you are to theft, loss and damage.   Hopefully you will be working with some locals you can trust and can help you share the responsibility of keeping your gear safe and well maintained - but that's never a sure bet.  in the end, you are the only guy and it's easy to lose track of one little thing, or get ripped off bad if you're not careful - both which could screw you up big time.    In a doc situation when you're also producing, directing, shooting and lighting - it's easy to forget who's walking around with your 4 G3's + Sanken lavs or who's got the keys to the locked office you stashed all your gear in.

 

*in traveling with gear, as a one man show, the types of cases and bags you chose can be critical in your ability to transport and use your equipment effectively.   this may also be very obvious, but the fine balance between weight/volume and protection/durability in a road case or bag is important to consider before hitting the road on a year long international solo proj.

 

*you may be underestimating the fact that there is a physicality to the jobs that you are attempting to do together that generally don't vibe well.  The most skelital crews, when recording dialogue, consist of camera and sound people.  I know very very few professionals who can effectively shoot and operate an external recording device with wirless and wired mics and actually produce good content.  ultimately you'll be sacrificing something.  there are too many things that can go wrong.  so be aware and measure the risk that even though you may be superman, shit can and will happen when you're spread too thin.  

 

*backup/duel battery systems for both yor recorder and camera can be life savers on this type of doc.  Most recorders offer internal and external battery options.  use IDX Lithium ions as your primary battery and lithium AAs as your backup if you're going with Zax

 

good luck

[Rick Reineke]

Based on the OP's questions and statements I think he may in way over his head.

I would seek a pro sound person from the location area. As a veteran of many international documentary audio production shoots, travel is challenging enough even w/o gear. Don't forget the bribe money either.

[L C]

MikeSound--

 

 

Thanks for the good advice and words of support.

 

Fortunately, I will have some trustworthy local resources, so transportation and security should be fine. I will, however, take a more closer look at cases and bags.

 

Regarding batteries, I will be using an Anton Bauer system. The mounts I will be using for camera power (including spare) have P-Taps. I'll take your advice and get a P-Tap cable that has the correct termination based on the final recorder I get.

 

Again, many thanks.

[studiomprd]

" Is it necessary to carry an extra set of foam windscreens? "

no, but a good idea...

" my cable be from the recorder I'm carrying to the back of the boom pole? "

go coiled...

 

" recommend other lengths such as  30' or 50'? "

yes, you'll need shorties, and extensions, too

 

" Is there any reason to get one color over the other? "

the white ones sound brightest, the black ones have the darkest sound...

I prefer to have options...

 

" Should I get all four mics in the same frequency block? "

if you want maximum interchangeability

 

" The preamps just aren't good enough. "

 

other issues will be noticeable long before that becomes an issue...