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Kit Advice For A Newbie


Neutron

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Hello everyone, new guy here that is looking to get into location sound and hoping to focus on smaller budget films. I have been piecing a kit together over the past year so I'm ready to go when it's time to close the door on my current job. I have had the privilege of working on 2 indie films so far, one of the crews I worked alongside is based in Atlanta and I am considering moving there early next year if I can't find anything in my area (near north Dallas, TX). Listed below is what I currently have or looking to buy and was looking for advice on anything I might be forgetting/recommendations/etc. Money is not a huge factor but good deals are certainly welcomed and I'd rather not spend the money if I don't need to, fortunately I am in a position where I can afford nice gear and I know I will have the opportunity to make that money back so I don't mind the investment.

 

Here is what I currently have:

-Mixpre 10ii (I worked with an 833 and loved it, I would like to get an 888 in the future but I think the Mixpre will get me started)

-Wisycom MCR54 with 4 MTP60's

-(4) DPA6060 lavs with microdot connectors

-Audioroot bds/charger and 2 Inspired Energy batteries (considering a couple more)

-Ktek Stingray bag

-Ambient QP5100 boom and quick release (considering getting a Ktek, one of the crews had one that I really liked)

-Sennheiser MKH416 (this is the only thing I bought used, found a good deal on it) and MKH50 mics both with Spacer Bubble wind protection and Rycote Invision shock mounts

-Sony MDR7506 headphones

-48 Ikea Ladda AA's with caddys and ISDT N16 charger

-(2) SanDisk Extreme gold 128gb sd cards and (2) 64gb, also have the same amount of SanDisk usb thumb drives for backup recording on the Mixpre

 

My next big purchase was going to be a smart slate and timecode boxes, I am leaning towards a Denecke TS-C and not really sure on sync boxes. A display would be nice, wireless sync is a must, and an app control is a plus. I have been eyeing Tentacles, Ultrasync One, Betso, Denecke JB-1 (not sure if these have wireless sync), and Ambients. I like the Betso slate as well. It has some really cool features that the Denecke doesn't but I don't like the white leds, I understand that might sound silly but is there a reason why they chose this over red?

 

I should probably invest in a monitoring setup for directors, script supervisor, producers, etc. This is something I am really undecided on, it seems most are using Comtek or Sennheiser G4's but I am all ears (no pun intended) on this subject. 

 

I will also need expendables and such but I'm not concerned as much with the smaller ticket items. Sorry for the long post but if I am missing something or if anyone has suggestions/recommendations/criticisms/feedback it is appreciated!

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Timecode boxes are the really big and obvious omission here, surprised you don't have any already considering what you've accumulated so far. Get at least a couple (and all the many cables!) either Tentacle Sync E, or maybe TCS Ltd Ultrasync ONE, or Deity TC1 (they've got a three pack deal!) are good choices. However getting a timecode slate seems much less important than numerous other purchases I think you should do first. 

 

Is there any older/secondary/backup gear as well which you've upgraded from which you haven't listed? 

 

As I think it is really important for a professional to have "something" as your backup for if disaster strikes. What if something breaks in a freak accident on set, or a criminal steals your gear during lunch break, or a random Act of God happens. Is very helpful to have "something" so the show can go on. As you can just fetch the spares from your van, or from back at home. Ideally say a MixPre3 or Zoom F6 would be almost ideal as a backup recorder, but even a dirt cheap (almost nothing!) Tascam DR60D would be better than nothing! 

 

Plus often there are times when extra gear comes in handy, maybe for instance you have a loooong day running up and down a mountain following a couple of athletes for a doco. Wouldn't it be nice to use your backup MixPre3 for that instead of your MixPre10? Or maybe you're doing an interview setup and it would be nice to have one MKH50 over each person? (rather than splitting it down the middle, or ignoring one prson) Yet another benefit of having a spare mic and a second boom pole. 

 

So with that in mind, I'd suggest some of your first considerations be that you upgrade from your 416 (and then the 416 can be your back up mic. Consider the 8060, or any of the great mics from Sanken/DPA/Schoeps) and get a second boom pole. (perhaps a 5m pole? For when you need a little more extra reach than your current one can do). Have spare lav mics for your transmitters as well (would suck if just one lav breaks when you're needing to use all four transmitters, & you're stuffed because you only own four lavs), just simply getting a couple of Deity W.Lav Pros are a cheap but good solution here. After that, I'd look into getting a second MKH50 as well. Same logic is why you should get a couple more eSmart batteries and a second eSmart charger too. (ditto a second ISDT charger too! Could you imagine what total disaster it would be if your only AA charger got broken / stolen / lost??)

 

Once you've done all that, then get the Wisycom PHA60 for when you need a wireless boom (for instance every time you work with a Boom Op). Get a Wisycom MPR52, this is both very useful for if your MCR54 ever goes down (it's your only receiver! Talk about having all your eggs in one basket) at least you'll have still be able to do two channels of wireless (might be enough to get through the rest of the day in a pinch) but is also useful when you need more wireless on set (such as for sending a high quality feed to a camera, or if you need to wire up a 5th and 6th talent on camera. On which point, get a couple of Wisycom MTP61 as well! For when you need to put a lav on a trickier costumes which you can't hide your bigger MTP60 transmitters on).

 

 

1 hour ago, Neutron said:

I should probably invest in a monitoring setup for directors, script supervisor, producers, etc. This is something I am really undecided on, it seems most are using Comtek or Sennheiser G4's but I am all ears (no pun intended) on this subject. 

Have you checked out the IFBlues? (by Lectrosonics) I like you can get these in either the VHF or 941 block, meaning you can put these all in frequencies far away from your much more important boom and talent wireless frequencies. 

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Pretty good kit for a newbie! Get. Slate and boxes when you are working on jobs that will pay for them (if you’re not already). And some kind of IFB is necessary on most jobs. What kind of jobs are you doing and what kind of jobs do you want to be doing? I use Conteks on feature work and I don’t think anything can beat them in terms of range and battery consumption. Plus you can usually get more of them to rent pretty easily.

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5 hours ago, IronFilm said:

As I think it is really important for a professional to have "something" as your backup for if disaster strikes. What if something breaks in a freak accident on set, or a criminal steals your gear during lunch break, or a random Act of God happens. Is very helpful to have "something" so the show can go on. As you can just fetch the spares from your van, or from back at home. Ideally say a MixPre3 or Zoom F6 would be almost ideal as a backup recorder, but even a dirt cheap (almost nothing!) Tascam DR60D would be better than nothing! 

I would also say a 2nd recorder is great. I have a mixpre6 and a mixpre10. Mostly the MP10 are getting used lately. But the MP6 without bag is super small, so it is always with me in the front pocket of my backpack. Never had to replace the mp10 in a shoot thankfully, but I pulled it up as an additional recorder when we were suddenly shooting two cameras inside and outside of a car at the same time without any warning. Because I had a tentacle to spare and got the MP6 rig up and running quickly, we could get the action inside and outside the car and later on a bus with multiple perspectives.

 

I agree with others.. Thats not a bad kit at all for starting out. I have similair flavoured kit (with more redundancy for everything), but for me it took many many years to get to that level.

 

What I would suggest would maybe be:

- Timecode (there are rumours that Wisycom and Tentacle are in talks, so maybe they develop something to remote sync TC in the future)

- IFBs (Whatever is most used in your area, so you can add additionals or rent out). 

- 2nd mkh50 and 2nd boompole. If you have the luxury to get offscreen dialouge or 2 talents for sitdown interviews with the same model of mic, thats golden.

- Some clamps (magic arm, dinkum), boombuddy or similair.

- Straps for various placements.

 

But keep in mind, more than anything. You need to get the ball rolling and work. I wish I was working more with other sound people when I started out. Some of the best lessons are when working for more experienced mixers and you pick up a trick every once in a while.

 

Good luck on your journey 

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On 12/19/2022 at 10:02 AM, IronFilm said:

Timecode boxes are the really big and obvious omission here, surprised you don't have any already considering what you've accumulated so far. Get at least a couple (and all the many cables!) either Tentacle Sync E, or maybe TCS Ltd Ultrasync ONE, or Deity TC1 (they've got a three pack deal!) are good choices. However getting a timecode slate seems much less important than numerous other purchases I think you should do first. 

 

Is there any older/secondary/backup gear as well which you've upgraded from which you haven't listed? 

 

As I think it is really important for a professional to have "something" as your backup for if disaster strikes. What if something breaks in a freak accident on set, or a criminal steals your gear during lunch break, or a random Act of God happens. Is very helpful to have "something" so the show can go on. As you can just fetch the spares from your van, or from back at home. Ideally say a MixPre3 or Zoom F6 would be almost ideal as a backup recorder, but even a dirt cheap (almost nothing!) Tascam DR60D would be better than nothing! 

 

Plus often there are times when extra gear comes in handy, maybe for instance you have a loooong day running up and down a mountain following a couple of athletes for a doco. Wouldn't it be nice to use your backup MixPre3 for that instead of your MixPre10? Or maybe you're doing an interview setup and it would be nice to have one MKH50 over each person? (rather than splitting it down the middle, or ignoring one prson) Yet another benefit of having a spare mic and a second boom pole. 

 

So with that in mind, I'd suggest some of your first considerations be that you upgrade from your 416 (and then the 416 can be your back up mic. Consider the 8060, or any of the great mics from Sanken/DPA/Schoeps) and get a second boom pole. (perhaps a 5m pole? For when you need a little more extra reach than your current one can do). Have spare lav mics for your transmitters as well (would suck if just one lav breaks when you're needing to use all four transmitters, & you're stuffed because you only own four lavs), just simply getting a couple of Deity W.Lav Pros are a cheap but good solution here. After that, I'd look into getting a second MKH50 as well. Same logic is why you should get a couple more eSmart batteries and a second eSmart charger too. (ditto a second ISDT charger too! Could you imagine what total disaster it would be if your only AA charger got broken / stolen / lost??)

 

Once you've done all that, then get the Wisycom PHA60 for when you need a wireless boom (for instance every time you work with a Boom Op). Get a Wisycom MPR52, this is both very useful for if your MCR54 ever goes down (it's your only receiver! Talk about having all your eggs in one basket) at least you'll have still be able to do two channels of wireless (might be enough to get through the rest of the day in a pinch) but is also useful when you need more wireless on set (such as for sending a high quality feed to a camera, or if you need to wire up a 5th and 6th talent on camera. On which point, get a couple of Wisycom MTP61 as well! For when you need to put a lav on a trickier costumes which you can't hide your bigger MTP60 transmitters on).

 

 

Have you checked out the IFBlues? (by Lectrosonics) I like you can get these in either the VHF or 941 block, meaning you can put these all in frequencies far away from your much more important boom and talent wireless frequencies. 

 

I appreciate all the input so far from everyone!

 

I haven't bought any timecode stuff yet because I haven't been able to narrow it down enough to make a decision. I always thought Deity was on the higher end of consumer grade so I kinda disregarded them, one of the crews I worked with was using TC-1's though and I just saw the video Allen Williams posted covering the slate and timecode boxes. He seems to like them as does Curtis Judd and I trust their advice. I emailed Gotham and they are offering me a good deal on the whole kit so I might give it a shot. The only thing I saw that could be a negative in some cases is that they don't auto jam continously and you have to do it through the app.

 

I completely agree with you on backup gear however this isy first kit and I'm building from scratch so as of now I don't have anything else for those "just in case" moments. That brings up another good topic, insurance. Is everyone getting their gear insured and is there a company that specializes in this? I was going to call my auto/home insurance and ask them as well. I went with the 10ii because I need to have at least a boom and 4 wires for the films I've been on so it gives me more room if I need it but I would love to get a mixpre 3/6 for the smaller gigs. I have also already ran into a situation where 2 booms would have been ideal, the crew had an extra pole but did not have a second matching mic so we had to make do with what we had. I was already considering another pole but I will keep my Ambient for this type of scenario. And funny you mention the 8060, I was actually going to buy one of those but I found a really good deal on the used 416 so I got that instead. I was going to get Cos11D's but I got a crazy deal on the DPA's and that's why I went with them. Another set of Cos11's would be nice to have (I'll have to look into the Deity's you referenced) and maybe some G4's for either monitors or I could use them on lower paying gigs where those are good enough for the clients. That's one of the reasons I went with the Wisy setup so I can use different transmitters.

 

I did want to eventually go wireless on the boom as well and have looked into the PHA60 as you mentioned. If things end up going well maybe I could swing another MCR54 and have 8 channels, that would be killer! Thanks for the thorough reply!

On 12/19/2022 at 4:15 PM, Mattias Larsen said:

What I would suggest would maybe be:

- Timecode (there are rumours that Wisycom and Tentacle are in talks, so maybe they develop something to remote sync TC in the future)

- IFBs (Whatever is most used in your area, so you can add additionals or rent out). 

- 2nd mkh50 and 2nd boompole. If you have the luxury to get offscreen dialouge or 2 talents for sitdown interviews with the same model of mic, thats golden.

- Some clamps (magic arm, dinkum), boombuddy or similair.

- Straps for various placements.

 

But keep in mind, more than anything. You need to get the ball rolling and work. I wish I was working more with other sound people when I started out. Some of the best lessons are when working for more experienced mixers and you pick up a trick every once in a while.

 

Good luck on your journey 

 

Do you have any other info on the Wisy/Tentacle partnership? It seems like most are using G4's or Comtek from what I've seen and with my receiver the G4's could double as transmitters for talent so that might be the route I go. Would it be worth doing an sma antenna on the G4's if they are used mainly as monitors? If we also had a couple of C stands in the instance I listed in my post the boom op could have taken a break so having 2 booms I ought to get a couple of stands as well with boom holders. The boom box I can make on my own. I have been trying to work with others rather than on my own until I feel comfortable enough to do jobs solo, I have learned a ton already from working with the people I have and totally agree with you. One thing I have noticed so far is that this community seems tight knit and always willing to help others out, the industry I've been in all of my adult life is a very negative environment full of people with big egos so it will be a breath of fresh air when that door closes. Thanks for the kind words!

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7 hours ago, Neutron said:

Do you have any other info on the Wisy/Tentacle partnership? It seems like most are using G4's or Comtek from what I've seen and with my receiver the G4's could double as transmitters for talent so that might be the route I go. Would it be worth doing an sma antenna on the G4's if they are used mainly as monitors?

Not more than 2nd hand information from people the Wisycom User FB group that have been talking with dealers, so all rumours at this point.

 

Sure, that doesnt sound like a bad idea. Maybe worth having a look at used SK2000s then as well. Same mic connector as your Wisys. For sennheiser IFB, its worth scouting for 2nd hand deals on EK1038/39, if your lucky they can be had dirt cheap.

 

I had all my sennheiser antenna modded at this point. Its not a big difference, but you can swap antennas that directors have been sitting on more easily and remote the antenna which can be helpful on for example car to car stuff with a magnetic mount.

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On 12/21/2022 at 1:38 PM, Neutron said:

I haven't bought any timecode stuff yet because I haven't been able to narrow it down enough to make a decision. I always thought Deity was on the higher end of consumer grade so I kinda disregarded them, one of the crews I worked with was using TC-1's though and I just saw the video Allen Williams posted covering the slate and timecode boxes. He seems to like them as does Curtis Judd and I trust their advice. I emailed Gotham and they are offering me a good deal on the whole kit so I might give it a shot. The only thing I saw that could be a negative in some cases is that they don't auto jam continously and you have to do it through the app.

 

Deity made a few products (such as their shotguns and wireless) which were what I'd call prosumer grade. (half way between consumer grade and professional grade, with a foot in each camp)

 

However their timecode products I'd definitely put in the professional grade category. 

 

btw, I think it is a bit premature to buy their timecode slate though for you currently, as there are plenty of other higher priorities to spend your limited $$$ on. Definitely get their timecode boxes though.

 

On 12/21/2022 at 1:38 PM, Neutron said:

 

I completely agree with you on backup gear however this isy first kit and I'm building from scratch so as of now I don't have anything else for those "just in case" moments.

 

You could get a secondhand Tascam DR60D and Deity SMic2 shotgun kit (with a cheap aluminum 3m boom pole), plus a single channel of Sony UWP-D21 (or even the previous generation UWP-D11) all for under US$1K with a little bit of sleuthing. 

 

And that could be enough to "save the day" if everything totally goes to a hellish sh*t in a handbasket (such as if you fell into a canal wearing your mixing bag). Plus as I said, all of this could also be handy supplementary kit for your main gear. If you need to squeeze in an extra channel of talent wireless then the Sony will work very well in a pinch. Or if you need to send scratch audio to a camera, then the Sony's great for that. Likewise a second boom has many ways it might be useful. 

 

On 12/21/2022 at 1:38 PM, Neutron said:

 That's one of the reasons I went with the Wisy setup so I can use different transmitters.

 

Lectrosonics also has multiple compatibility modes too. But just like when you try to use other brands with Wisycom, it won't ever sound quite as good as when paired with the receiver it is meant to go with. 

 

On 12/21/2022 at 1:38 PM, Neutron said:

 

I did want to eventually go wireless on the boom as well and have looked into the PHA60 as you mentioned. If things end up going well maybe I could swing another MCR54 and have 8 channels, that would be killer! Thanks for the thorough reply!

 

No need to rush and buy a PHA60, as at this point in time you should go with a hardwired boom any time you're working from a bag and booming yourself. 

 

But it is very handy to have if you're say doing a Short Film with a Boom Op, then you'll need them to go wireless, so get yourself a Wisycom PHA60 as it's very affordable at just US$295: https://www.gothamsound.com/product/pha60-48v-phantom-power-adapter 

 

Your main two other options are: 

 

Ambient UMP III which is very similar in general concept to the PHA60, but rather than being specifically made for a particular Wisycom transmitter it is intended for more general purpose usage with no one transmitter in mind. Oh, and it costs $100 more than the Wisycom PHA60.

https://www.gothamsound.com/product/ump-iii-universal-mic-power-supply

 

Or get a dedicated boom transmitter, the Wisycom MTB40S-UN. But that's nearly US$1.4K, and you don't have the versatility of also being able to use this transmitter on talent as well as a bodypack.

https://www.gothamsound.com/product/mtb40s-un-plug-transmitter 

 

So for where you're at currently, the PHA60 sounds like it makes a lot more sense for you to get. 

 

On 12/21/2022 at 1:38 PM, Neutron said:

It seems like most are using G4's or Comtek from what I've seen

 

Lectrosnics IFBs are also very popular too. Kinda also depends on where in the world you are. Also often people might mix and match. Use the higher quality Lectro IFBs for their team in the Sound Dept, and perhaps the Director too & a select few other VIPs, but then have a dozen of the cheaper Comteks to give out to everyone else. 

 

On 12/21/2022 at 1:38 PM, Neutron said:

 

and with my receiver the G4's could double as transmitters for talent so that might be the route I go.

Keep in mind that:

1) the Sennheiser G4 used as IEMs are a specific model that's quite different to the Sennheiser G4 wireless people:

https://www.bhphotovideo.com/c/product/1385733-REG/sennheiser_ek_iem_g4_a_ek_iem_g4_stereo.html (note, that's more expensive than the IFBlues made by Lectrosonics: https://www.bhphotovideo.com/c/product/1658800-REG/ifblue_ifbr1c_a1_ifbr1c_bodypack_ifb_receiver.html )

 

2) I have very low opinion of using the Sennheiser EW100 G4 kits as talent wireless. As Sony UWP-D21 are priced the same and are better. And besides, any you should be using pro grade wireless for talent, not prosumer wireless. 

 

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1 hour ago, IronFilm said:

Or get a dedicated boom transmitter, the Wisycom MTB40S-UN. But that's nearly US$1.4K, and you don't have the versatility of also being able to use this transmitter on talent as well as a bodypack.

https://www.gothamsound.com/product/mtb40s-un-plug-transmitter 

 

So for where you're at currently, the PHA60 sounds like it makes a lot more sense for you to get. 

 

Speaking of my area, the combo of beltpacks+receivers from Wisycom and a Sennheiser plug on is also common. SKP 3000 (unfortunately not in Sennheiser's portfolio any more) sounds absolutely decent on a Wisycom receiver. Maybe you could get one used. SKP 3000 is more pro than SKP 2000 or SKP 500 G4 because it uses the HiDyn Plus compander system.

 

Many years ago there was the SKP 30 which nobody would recommend as it works with 9v block batteries, lasting very very short.

 

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If a persons really really wants to save some money by using Sennheiser transmitters instead the Wisycom transmitters with the MCR54, then I think the best plan would  be to get some secondhand Sennheiser SK 5212 transmitters as they seem to go for low/mid three hundreds on eBay (or get the Sennheiser SK5012 nearly for free, they're just about being given away).

 

The SK5212 will sound better, be more durable, and as a bonus are much more compact too so easier to hide on costumes. 

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  • 2 months later...

Denecke TS-C and not really sure on sync boxes. A display would be nice, wireless sync is a must, and an app control is a plus. I have been eyeing Tentacles...    

 

I have the TS-C, easy to jam sync with a bright display. The front screen gets marked up easy (soft plastic). I put a plexiglass cover over mine to protect it. 4 small velcro corners holds it in place & writing on it is not an issue. The 1st day I used it, a turd A.D. placed it face down on a road and put a good size  dimple on it from a stone- thus the plexiglass. I have never had a problem with Tentacle! They keep great time no drift & are durable as hell. Internal battery lasts a full 2 days (but charge it daily). The different camera jam sync cables are expensive, if you have a friend who can wire them up you'll save big time! I have the bluetooth type that are easy to use on their app.

I have a lot of gear I was going to sell because I'm recently wheelchair bound, but I'v started doing small jobs while I'm convalescing, so I'm happy I held on to most of my gear.

Good Luck- doing sound rocks!

                         

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I would argue that having wireless sync timecode gear is NOT a must. Personally, I prefer having TC gear that is simple and not over engineered. We have enough menus to dive through with our wireless and recorders I’d rather not have needy TC gear too.  Best TC box, in my opinion, is the old Ambient boxes with no screen. Close second is the Denecke SB-3 black boxes.  I don’t like the new small Denecke boxes with screens, the joystick control is really annoying. Also hated the ultra sync ones. The old school boxes are great, totally durable, hold timecode all day and there’s nothing for camera department to mess up with all the switches hidden. Buy a slate. Get a Denecke. I like the big ones but TS-C is fine too. When it breaks (likely only after years of abuse) Denecke will repair it for like $50 and turn it around in no time. They’re a great company and deserve the support. 
 

If you need a tiny timecode box for riding on camera I’d probably get the original tentacles. 
 

I also don’t believe in spending hundreds of dollars on every imaginable cable to accommodate every single possible new camera. It’s a losing battle and should be the responsibility of the camera owner/operator/rental house and AC. I provide BNC or 5 pin Lemo. If I owned tentacles I would have 3.5 to BNC and Lemo. 
 

My experience on narrative work is that the ACs take whatever box you give them, jam the cameras whenever they deem necessary and leave the box on their carts the rest of the day so there’s no real need for small and light. 
 

On small jobs with more owner/operator type DPs I’ve noticed a trend that they come with their own tiny TC box that they’re in love with. 
 

Sorry this turned into a rant! You should buy whatever makes you happy and your life easier but I’m in the camp of after I jam the things in the morning I don’t want to think about it the rest of the day. 
 

Have fun building your kit! Exciting times!

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A TC alternative that is simple, tiny and pretty trouble free are the old Mozegear Q-series TC gens that run on AAA batteries (that are only avail used these days).  Tiny, small, all day runtime, more camera friendly that the older boxes that have genlock as well as TC.  I too am a fan of the old Ambients and even the Denecke SBT, but they have become an increasingly harder sell re: getting them mounted on ever-smaller cameras due to their size and weight.  The SB3 is very useful for music work (ditto the older Ambients) because it can make word clock.

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I am a huge fan of Ambient Lockit series. I have the Master Lockit which can also gen lock as the main transmitter from my bag to camera(s).It operates e on the 2.4 ghz freqs. I like the wireless transmitter option.  I then mount depending on real estate either tiny lockit or nano lockits. Sometimes I get pushback from AC, then I offer to have a discussion with their boss or the Producer. I pretty much win. I check via monitor a few times a day for accuracy, re jam after lunch.

 

Timecode is what they want, I supply it, here are my tools to provide it. They want something different than what I offer, then bring it to set.

I have taken it upon myself to invest in the different cables, far easier to do that than getting a hold of DP or AC, or rental house for every job. I don’t have the time. I agree either the rental house or owner/operator should provide  the appropriate cables. You can write the cables off as a business expense. 

 I also have a Denecke Ts-C. Love it. They recommend sending their slates in to them once a year for crystal check. If it gets a ton of use and or suffers a serious drop, more than once. Turn around from Denecke is very quick. As you go along, you will figure it out for yourself what works. There is no magic answer. Ours is a trade position that you can only master the more you do it. Providing you had a good teacher:0

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