One or Two Audio Kits for $15k

[Essor]

Given the option of filling all your audio needs with $15k (I know, not that much, but that's the situation I'm in right now), what would you buy?

For feature film, would you be able to build two decent kits in that price range? I will have two epics and they will probably see different projects at the same time.

Would you use a dedicated audio recorder, or use a software solution tied into a laptop and your mixer.

And obviously, what mixer, microphone and lavalier array would you prefer.

I'm really counting on some folks with serious audio experience showing up here.

 

[Marc Wielage]

It all depends. I know quite a few mixers who carry more than $15K just in microphones (including me). A lot depends on your intentions and your expected applications. One would have different needs for, say, a documentary/reality career than a feature/short career. And you might need different choices for a TV series vs. TV commercials. There's no easy "one size fits all" answer. I have seen feature sound packages that cost well over $100K, and simple doco systems with just one boom, a mike and a cable that cost $500. I think it's fair to say $15K would barely cover a recorder, a small mixer, a boom pole, a couple of great microphones, and at least a couple of wireless systems (given that good wireless systems cost about $3K per channel). And many producers expect a minimum of 6 or more wireless mikes on shoots these days.

There are very good equipment choice conversations over on Jeff Wexler's audio discussion group, which I would recommend highly. While I think a laptop solution (like Boom Recorder or Metacorder) can work under controlled conditions -- it was used on Lost for four seasons -- it's not ideal for fast-paced shooting, nor would it be appropriate for run-and-gun productions.

One very popular solution is the Sound Devices 788 plus the CL8 mixing panel, which basically gives you a 10-track recorder in a compact package with a (limited) mixer for under $8K. Be aware that microphones hold their value much longer than recorders. My general advice is you should rent different gear for specific projects before committing to the expense, because you never really know how good or bad it's going to be under battle conditions until you really use it.

 

[Alexander Ibrahim]

I just so happened to be making a list of audio gear.

(As a note to future readers... this post was written in September 2010. My wish list may well have changed or even be gone if you are reading significantly later than that.)

My priorities are different than yours. My budget is a bit higher, $25,000 USD

For one I have a mixer and recorder and mics... so those items which are the foundation of your kit are further down my priority list. My current junk will eventually become the basis of the backup/2nd unit audio kit. (I don't expect to be in the rental business.)

Here is my B&H Wishlist:

http://www.bhphotovideo.com/wl/385EA315FC

In addition to all that I am looking for four 4-pin HiRose to XLRF cables.

http://www.americanmusical.com/Item...0HAMS0000&utm_source=froogle&utm_medium=feed&

OK, so what is my thinking, and how might I reprioritize for you.

You need a very solid mixer & recorder.

My item 5 is your item #1

One of my great audio regrets is not buying the mixer recorder that truly suited my work from the beginning.

Whatever it is you are doing, the 788T can handle it.

8 inputs and 12 channels recording. That's each input recorder pre or post amplification- your choice. That is huge. When you have a lot of mics going at once on set your live mix won't be perfect- by recording every mic separately you can preserve the original signal for the post sound mixer to really work on. In addition, you have a stereo mix and two auxiliary channels.

I picked the SSD version because I've had spinning hard disks crap out on me too often. The hassle isn't worth the savings- get the SSD.

The next bonus is that the 788T can record to its hard drive, an internal CF card AND a bus powered firewire disk (hard drive, or DVD!) This is huge because on most sets audio doesn't have anyone to run ingest for them- so immediate as you work backup is spectacular.

You also get timecode in/out.

The reason the 788T is #5 on my list is that I already have a mixer and recorder. I'm not thrilled with either- but they work.

The downside to this is the price: $6500. Its worth it, but it isn't cheap.

If you must compromise on this item, get the Sound Devices 552 mixer instead. The price is $4000 less than the 788T-SSD, but it also obviates the need for the CL8 (below) saving another $1000. The downside is that its built in recorder only records the stereo mix.

Next I'd have to point you at a solid mic kit. Another huge mistake I made was buying cheap mics. Don't do it. Your main workhorse mic is going to be your short shotgun- so get very good ones. I have the MKH60 picked out (item 6), and I have two B&H MKH60 kits on my list that include most of the extras you need- blimp, boom pole some cable.

Just buy these. Don't negotiate, don't cut corners- buy these.

Third I'd point you at the "big" wireless kit on my list which is my item 2. That includes a dual channel receiver and three transmitters- two body packs and a plug in. The kit also has a couple of lavalieres. I have lost more video work on account of not having wireless and lavs than any other piece of gear.

There is a lot of value in that wireless kit, so again I'd urge you not to skimp. Really, its just middle of the range.

The next thing I'd get is the Comtek. Its basically a wireless broadcast unit. You can send an output to the transmitter and multiple receivers can hear it. Basically its so the director and others can hear your mix. I have two recievers, one for the director and one for script.

You could just run a cable... but let me assure you that is a stupid pain in the ass. Get a Comtek as soon as you can. In your case, since you want two units, I'd get two sets (reciever transmitter), then you can use a wired splitter/distro to break out to multiple headsets.

Next I'd get my item #1 Sound Devices Mic Pre-Amps. This buys you two things- possibly three depending on the shoot. First, your boom operators can hear what they are doing... this will help them get better mic position. Second, your boom operators can ride the gain on their mic. Third, you can cable the output of this pre to a wireless transmitter. As you add more and more mics this is a more and more important set of luxuries.

Next I'm torn... but I think I'd point you at the K6 mic kit (item 9) and modules (items 10 & 12). More mics are good. These mic kits are lower end. Slip on softies instead of blimps and entry level mics. The trade off is that you can afford to have special purpose mic capsules, so while the mic is not as good its better suited to your purpose.

Following that, I'd get the other wireless kit on my list (item 7) and two more lavalieres (item 8). If you really want two units, then you might consider getting a second copy of the first wireless kit (item 2)- but that depends on whether or not you are going to be doing interviews with handheld and such.

I already own a Zoom H4N and another mixer... so you'd have to add a recorder/mixer to your list to have two functioning units. (swapping the 788 for two 552's might suit you in this regard) For myself, I won't frequently be running a second unit with sound, so I'm willing to spin off the second unit with just a recorder, like the Zoom and feed that recorder with the MM-1 pre amps. You can either drop the MM-1's in a bag and use them like a two channel mixer, or give them to the boom operators. Either way works, and its a cheap way to spin off a unit- especially if your recorder is the camera.

I need to get a live mix that's excellent so I have the CL-8 fader on the list (item 11). The 788T is actually a great mixer from a technical standpoint, but its pretty lousy from a usability standpoint. The CL-8 rectifies that completely for field mixing. If you are planning on an audio cart, the CL-9 is a better choice. It has full travel faders and other options. Of course, you may want to cut these, especially if you've chosen a Sound Devices 552 mixer/recorder. (or two)

I hope that helps- it is quite an info dump though.

Best bang for the buck on this list? The MM-1 Pre Amps. They can make crappy mixers (hardware, not people) sound good.

Most attractive to low end clients? Wireless.

Best way to improve the results from this kit? Swap the MKH60 kits for MKH 70 kits. Dump the K6 kits and add a pair Schoeps SuperCMIT mics.

http://www.bhphotovideo.com/c/produ...CMIT_Digital_Shotgun_Microphone.html#features

Those mics are stupid expensive... but they are like cheating. Seriously. Even in the circumstances where their fancy sound math tricks don't work they "fall back" to being the best mics on the planet.

Another thing you should know about- my favorite wireless transmitters are Zaxcom. For a simple reason- they record the mic output after gain and before transmission. If it turns out there was a problem with the transmission, you can dump the take from the transmitter and save the day. Zaxcom has some very cool stuff... but its way out of price range we are looking at. (~$7000 for a stereo receiver and two bodypack transmitters, replacing wishlist item 7 )

 

[David Adamic]

Another thing you should know about- my favorite wireless transmitters are Zaxcom. For a simple reason- they record the mic output after gain and before transmission. If it turns out there was a problem with the transmission, you can dump the take from the transmitter and save the day. Zaxcom has some very cool stuff... but its way out of price range we are looking at. (~$7000 for a stereo receiver and two bodypack transmitters, replacing wishlist item 7 )

Alexander, I just called Coffey sound to order a Fusion 12. Waiting to hear back from them. I've been eyeing the zaxcom transmitter/receiver pairs because they adjust the gain at the transmitter. This of course is a feature I'd very much like to have but have never been able to do a direct comparison to the Lectrosonics. Have you done a comparison. Also which lav do you like with the zaxcoms?

thx

P.S. Moderators, I don't want to boost this thread so if you want to move it to another you may, I was just following up on something Alexander mentioned.

 

[Sam Eilertsen]

No expert here, but I've read a hypercardiod microphone is a very good thing to have for indoor shooting, where shotguns will get nasty echoes.

I've never used the 788 but I've used the 722, and I found the quality to be incredible. I got totally clean, professional recordings even with a cheap Rode NTG-2. My only complaint is that they can be pretty buggy.

 

[Tim Duran]

Essor and Marc, I just got back from B&H and other houses today. I have similar needs to yours, so here is my two cents:
A. Good mics are key. B&H moved me up to Senns about three years ago. But with a lot of reading on this audio section of Reduser and other audio forums, I went back to B&H for a side by side demo of Senns and Schoeps. No contest. Schoeps is far better to my ears.
B. B&H gave me a proposal for a 788T just as you guys want. But I wanted to consider the Sonosax as well, which they don't carry. I spent a day visiting Gotham Audio (unimpressed), Professional Audio (very impresssed), Posthorn (apparently you need an appointment to visit. We couldn't sync schedules so I didn't get there. On the phone the guy was very professional and their web sites is a match). Able Cine suggested Dale Pro Audio, but I didn't have time. Here is what I came up with. Virtually all of this equipment is fair traded. When I asked Gotham for their price on the 788T, they didn't know. Then they went to the B&H site and said that that is their price, pointing to the screen. None of these guys seem to stock anything. Pro Audio had a slew of staff, all at desks taking orders for drop shipments. These shops deal with people who pretty muchknow what they want. But what that don't have in hand holding a la B&H, they repair!!
C. Preamps. Very important. What draws me to the Sonosax is that it has the best preamps in the business, or so I've been repeatedly told. Their portable unit is 8 channels like the 788 for another $1,000 or so.
D. Here is one aspect none of you have talked about. I don't see many situations where you would want to hook up 8 channels to your portable 788 Porta Brace bag, wires hanging all over the place, pretending that you have everything under control. What I gather from some of the serious sound recorders I've had the pleasure to quiz on this, you need to get cart mounted type mixer recorder that will not only handle the 8+ lines you need, but all the earphone jacks you need on set as well.
E. I have not worked out the conflicts between wireless needs, where everyone says wireless is a last choice, v. wired lavs.

So my decision as of this writing is to stay with my 744t, continue to watch eBay for good deals, and buy a Sonosax or it's similar high end but deceased brother, a Cooper 208.

One great thing about B&H is that they sell a lot of items that at not fair traded, so if you are buying a large kit of boom poles, cables, etc along with a 788T, they take all that into consideration in their pricing. They may not reduce the price of the 788, but they will reduce the prices of your other non-fair traded items. NEVER pay B&H retail without trying to negotiate. I find that buying on the phone gets me a better deal than buying the same items off the floor.

Also, their sound room is great for comparing mics. Use it. No charge. But of course you can only listen to what they are selling.

Final note: Due to investment in inventory, I was surprised how they have cut back their audio inventory on display. Fewer Senns and Schoeps were on the floor than from 6-9 months ago.

I look forward to comments from all of you.

 

[Alexander Ibrahim]

Alexander, I just called Coffey sound to order a Fusion 12. Waiting to hear back from them. I've been eyeing the zaxcom transmitter/receiver pairs because they adjust the gain at the transmitter. This of course is a feature I'd very much like to have but have never been able to do a direct comparison to the Lectrosonics. Have you done a comparison. Also which lav do you like with the zaxcoms?

thx

P.S. Moderators, I don't want to boost this thread so if you want to move it to another you may, I was just following up on something Alexander mentioned.

It depends on your application.

One thing I like about Lectrosonics is that their wireless transmission is second to none. I live in DC, which is a very tight electromagnetic soup. We not only have the normal police. fire and other civil radios, we also have DoD and national intelligence agencies. Sometimes nothing seems to work here.

Well, nothing except Lectrosonics. I figured that out because I saw Army combat camera crews with Lectrosonics gear.

So, if you are ENG, EFP or Documentary then Lectrosonics is a smart bet. Even so, sometimes Lectrosonics will work, but give you degraded audio quality.

So, Zaxcom rocks because of the built in recorder. If it wasn't for the recorder I'd put them a notch below the Lectrosonics.

I don't own any Zaxcom gear, I've just used others gear on occasion. Mostly I am a DP, so my audio experience is limited. Just so we are clear- the gear on my wish list will all be the best gear I've owned for each of those tasks- and also note the list is for a complete audio kit.

I definitely can't tell you what lav mics are best. I've never owned my own lavs. I don't even have an intelligent opinion.

Well I do have one tidbit- its far less about the mics quality than it is about being able to hide the mic as close as possible to the mouth. To me there is no point in using a "better" mic if its harder to hide.

Of course, if your work lets you use mics that can be seen on camera... then my one tidbit is useless- go for audio quality.

 

[Alexander Ibrahim]

C. Preamps. Very important. What draws me to the Sonosax is that it has the best preamps in the business, or so I've been repeatedly told. Their portable unit is 8 channels like the 788 for another $1,000 or so.

D. Here is one aspect none of you have talked about. I don't see many situations where you would want to hook up 8 channels to your portable 788 Porta Brace bag, wires hanging all over the place, pretending that you have everything under control. What I gather from some of the serious sound recorders I've had the pleasure to quiz on this, you need to get cart mounted type mixer recorder that will not only handle the 8+ lines you need, but all the earphone jacks you need on set as well.

8 channels is easier to use up than it used to be.

Schoeps SuperCMIT mics use two channels for output- one for the standard CMIT audio and one for the SuperCMIT enhanced audio.

Stereo mics, and recently surround sound mics, suck up audio inputs like mad.

UPDATE: I just found out that Zaxcom just introduced a dual channel wireless transmitter. Its intended for stereo, and delivers two channels with a single body pack.

Second... boom operators with their own pre amps can share the mixing workload. They can each serve as a dedicated single channel intelligent auto gain control. Hence the Sound Devices MM-1 units in my proposed kit. (Although its begining to look like we need to replace MM-1 with two channel mixers to accomplish the same goal.)

Third- sound guys are epic lazy. The cart makes sense in some ways, but truth be told you can in fact run 8 channels of audio into your 788 in a bag, have it done neatly and manage it all. I know because I have. (Hint, dual channel wireless receivers make your life much easier)

Now for a story of epic laziness. One sound guy had his cart and truck so dialed in that at wrap, he rolled his cart near the truck then opened up his truck. He dragged a pulley from inside the truck, attached it to the cart and winched it in. That is EPIC LAZY.

 

[Tim Duran]

Alexander, he sounds epic smart.

 

[David Adamic]

Alexander, he sounds epic smart.

I've got to agree with Tim. That is smart.

 

[Jon Lillie]

This is one of the most well thought out threads I've read on a forum in a long time. Thank for adding this to my knowledge base.

 

[Alexander Ibrahim]

Alexander, he sounds epic smart.

I've got to agree with Tim. That is smart.

I am flattered, very glad I could help and a touch embarrassed.

What bugs me is that, although I have done sound professionally, I don't do sound for a living.

In other words, it may sound smart... but I'm sure I've left something out. Some important part of the thinking needed.

For example, Sam Ellertsen made a point about mic types and echo. I did not note that he's right.

Here's why I don't care that he's right.

If you don't use a shotgun you have to get the mic very close to the subject, and you are far less likely to pick up echo. The flip side is that you can't get the mic very far from the subject.

If you use a short shotgun, and you are hearing echo, you can move the mic closer. On most shots being able to keep the mic further from the subject means that the boom operator (me) can be more readily sure of staying out of frame. Despite my crews frustration at how often there was a boom wandering though frame, this actually saved time- and thus money.

So, I'd convert his technical note about mic types into a note about technique: "Get close." Its the sort of thing a real sound guy might have led off with, but that you have to drag out of me with questions and situations.

Digging deeper, why does getting close work? Well its about sound pressure levels- aka loudness. If the sound I want is loud and the sound I don't want (like an echo or a truck outside the set) is quiet by comparison then I can filter it out by just removing any sounds below a certain loudness. In the words of a real sound guy, "I have invented an echo filter. It may only be used by mixers who get their mics very close."

Here's another note I didn't explain. I'm not a huge fan of plug in transmitters. These are the widgets you plug in to convert a standard handheld (reporter/singer type) mic for wireless. There is one in the bigger wireless kit in my wishlist.

A lot of folks think they are also a swell way of eliminating cable runs from boom pole to the mixer... because you can plug them right into any XLR mic! (or if you are using an internally cabled boom, to the base of the boom- where it also works as a counterweight.)

Well, that works... but used in that way you also cut out the opportunity for a boom operator to hear what they are doing, and the chance for them to lend the mixer a hand by monitoring their own pre-amp/mixers.

So, I'd rather send the mic signal to a pre-amp, and from there into a wireless beltpack transmitter.

There's even more flexibility in this last arrangement. There isn't any reason you can't split the pre-amp/mixer output to a recorder on the boom operator as well as a transmitter. It becomes a sort of bargain basement modular Zaxcom transmitter that way. Its way bigger of course- but modularity leads to flexibility as well.

The point is that there are things I missed.

So, while I am flattered and thankful for the praise/compliments I certainly don't want to sound like "the final word." I may be further along than some others in the journey to pristine audio, but I am still very close to the beginning with only one feature under my belt as sound mixer/recorder.

I'm much more content giving advice about things I'm actually good at & have experience with, like camera and lighting or directing.

 

[Alexander Ibrahim]

In a private message someone pointed out another potential error in what I wrote.

Sound guys aren't truly lazy.

As it happens I worked a feature as a mixer/recordist. So having been a lazy sound guy, I can take the ribbing. So can all the other sound guys I know, most of whom just laugh at that joke and the story. (Including when I unwittingly told the winch story to the guy who it is about!)

Having been a sound recordist, DP, Key Grip and Gaffer (on different shows obviously!) I can say that the sound job is the easiest.

In fact I found it frustratingly easy. On one day when we were MOS all day I worked as a juicer just to break the monotony. Humping banded was fun after two weeks of holding a stick and twiddling knobs.

That said its like the camera operator or DP job- you need a LOT of knowledge in order to deliver results and take it easy.

So, getting back to my comment- its a joke. I don't think anyone who actually has to consider buying a bunch of sound gear- ostensibly because they are responsible for sound- is going to take it the wrong way, but I might be wrong.

In fact, I'd go the opposite way. If the sound guy doesn't look like a lazy git, then they probably don't know what they are doing.

Experienced sound guys dial in their bags and carts to the nth degree so they can spend their on set time focused on the work of recording. If I'm diddling with where my recorder should be in my bag, then I'm not placing a mic. If I have a lot to do between takes, then my arms are going to get tired faster when I have to boom from a distance or in some awkward position.

So the best way to sum it up is that being lazy is a symptom of working smart.

That doesn't mean you can't joke with them about it. Just be ready to hear about it when you can't decide how to motivate some light you want or when you decide to swap a Maxi Brute for a 5K. As a sound guy I was kind of alone in my own "department" most of the time, so I appreciated the interaction.

On another note in the future when working as a DP I will work harder to get sounds input on where they need to be BEFORE I order a grip forest built. I may still hose them, but I'll be more thoughtful before doing so.

 

[Patrick Tresch]

Sonosax has the best mic preamp. And they do recorders.

http://www.sonosax.ch/

Pat


PS: and they are great peoples.

 

[Tim Duran]

Alexander, here's a Q for you. I've noticed over the last 5-10 years that dialogue just doesn't sound as good as it has in the past (of course this isn't across the board). I don't know if this is because talent is mumbling their lines, because the director doesn't understand the importance of good sound (as someone once said, if the dialogue is in the script, it's meant to be heard), and/or lazy sound staff who aren't paying attention to what's being recorded. Other options I've been told are a) too many people have lost there hearing from iPods, hard rock concerts, etc and can't discern that poor quality sound is being picked up or b) talent is deliberately mumbling because they forgot their lines and the director doesn't have the time for another take. In all your sound experience, especially the grip part, what is your take on the state of production sound today? What words of advice can you give Redusers in this regard?

We're all listening.

 

[James Arnold]

Alexander,

Whilst your posts contain a goodly amount of decent advice for those on this forum who are not professional sound recordists, you have also made some statements that disturb me somewhat. As a full time jobbing sound mixer I can't let some of this stuff go unchallenged. I fear you are letting a little experience go a long way...

Most importantly I must address your dismissive attitude towards the use of cardiod microphones. You do realise that these are the most commonly used types of mic for interior dialogue work in the movie and televison business? And with good reason: there are different properties to the various shotgun microphones on the market, but in general (and particularily in the case of your favoured MKH60 and it's brother the 416) they perform poorly in most enclosed spaces due to how their pick-up pattern works with reflections from walls and ceilings. Bringing the microphone closer will partially help counteract this, but then you can find yourself suffering from proximity effect.

Using cardiod mics like the ubiquitous Schoeps CM41 or the Senny 8050/8040 range (newer versions of MKH 50/40) not only vastly improves the quality of the sound indoors, but is a much easier way to deal with attendent problems of boomswinging for dialogue. Using the MKH60 indoors requires pinpoint accuracy to prevent speech from being directed off mic as performers move about. The more generous pick-up pattern of cardiod microphones makes this difficult work a little easier. This is not to say that shotgun mics are never used indoors, but almost certainly they are less likely to be the immediate go-to. Outside, the MKH60 and friends really come into their own where their longer reach and ability to reject background noise can be properly utilised.

I am aware that you mentioned having a lack of knowledge about lavalier microphones, but ability to hide them is to no purpose if the resultant audio is disappointing. I carry at least 5 types of lav, which helps me to cope with different wardrobe, weather conditions and where the mic might forcibly have to be placed. Some lav mics have a more pronounced top end which helps when deeply buried under thick clothing - others are more water(or sweat) proof or deal better with wind noise. The common factor between them is the build quality and - somewhat inevitably - the price.

I find your 'jokes' about the lazyness of sound peoples rather depressing, if inevitable from someone who only 'dabbles' in our profession. This kind of stuff is fine when you are on set and friendly with the crew you are working with, but unwise to present as a bigger picture. It's worth pointing out that the above poster is already using your example of 'lazy soundguys' in reference to his query about modern cinema audio!!!

I'm also not going to give much credence to your notion that the sound mixer has the 'easiest' job on set either. This also sets alarm bells ringing for me. In my twelve years of mixing I've worked on jobs that went from being brain numbingly simple to outrageously difficult, often within the same day. Sometimes you have one sat-down interview to look after, other times huge rigs with music playback, multiple radio channels and so forth. Any shot with multiple mics should be MIXED properly too - a job that takes skill - and not just left to the iso tracks. I have downtime on jobs of course - but what department doesn't? Half the time it's waiting for lighting to be completed so I can begin to work out my own problems.

 

[Ryan Sims]

Well, nothing except Lectrosonics. I figured that out because I saw Army combat camera crews with Lectrosonics gear.

So, if you are ENG, EFP or Documentary then Lectrosonics is a smart bet. Even so, sometimes Lectrosonics will work, but give you degraded audio quality.

Lectrosonics makes great gear. I recommend them as well.

 

[Marc Wielage]

...there are different properties to the various shotgun microphones on the market, but in general (and particularily in the case of your favoured MKH60 and it's brother the 416) they perform poorly in most enclosed spaces due to how their pick-up pattern works with reflections from walls and ceilings. ... Using cardiod mics like the ubiquitous Schoeps CM41 or the Senny 8050/8040 range (newer versions of MKH 50/40) not only vastly improves the quality of the sound indoors, but is a much easier way to deal with attendent problems of boomswinging for dialogue.

Very good comments. Everything you say is 100% within my experience as well.

It's all about using the right tool for the right job. Sometimes, a shotgun is the best choice; sometimes a cardioid; sometimes a lav; sometimes a combination of all three.

I'm not a huge fan of plug in transmitters. These are the widgets you plug in to convert a standard handheld (reporter/singer type) mic for wireless. ...A lot of folks think they are also a swell way of eliminating cable runs from boom pole to the mixer... because you can plug them right into any XLR mic! (or if you are using an internally cabled boom, to the base of the boom- where it also works as a counterweight.) ...Well, that works... but used in that way you also cut out the opportunity for a boom operator to hear what they are doing, and the chance for them to lend the mixer a hand by monitoring their own pre-amp/mixers.

Unless you give the boom op a high-quality wireless receiver. There are those who favor giving the boom op their own preamp, and then they can monitor the preamp and send that output wirelessly... but the problem there is, then the mixer can't communicate privately with the boom op.

I've used wireless booms many, many times, and you'll find it widely used -- especially in fast-moving doco setups or in 2-3 camera TV shows. Not having to worry about the boom cable eliminates one more potential slowdown. I agree, using a wire is better, but sometimes, you have to do what's fast and efficient. And digital wireless can sound about 95% as good as a wire, done right.

 

[daviddwillson]

Alexander, I just called Coffey sound to order a Fusion 12. Waiting to hear back from them. I've been eyeing the zaxcom transmitter/receiver pairs because they adjust the gain at the transmitter. This of course is a feature I'd very much like to have but have never been able to do a direct comparison to the Lectrosonics. Have you done a comparison. Also which lav do you like with the zaxcoms?

thx

P.S. Moderators, I don't want to boost this thread so if you want to move it to another you may, I was just following up on something Alexander mentioned.

No expert here, but I've read a hypercardiod microphone is a very good thing to have for indoor shooting, where shotguns will get nasty echoes.

I've never used the 788 but I've used the 722, and I found the quality to be incredible. I got totally clean, professional recordings even with a cheap Rode NTG-2. My only complaint is that they can be pretty buggy.
__________________
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[Marc Wielage]

No expert here, but I've read a hypercardiod microphone is a very good thing to have for indoor shooting, where shotguns will get nasty echoes.

It's not so much that the shotguns "get" nasty echoes -- it's that interference tube microphones have a particular sound in rooms with broad reflections, like a bathroom or a kitchen with hardwood floors or a lot of tile surfaces. Hypers will generally sound better provided that you position the mike carefully (and consistently).

But it helps to have a good crew prep the room to try to tame the acoustical problems with sound blankets, along with an experienced boom op. And my preference would be to back up the boom with wireless lavs.