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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

What's your current audio setup? 2017

Richard,,

Howdy from Melb!

I use the dual Ambient nanolockit with my Epic W and Sound Devices mix Pre-3. Great setup!

https://www.youtube.com/watch?v=_7r6k6Eg4mo

Just need one of these cables Red:

https://www.bhphotovideo.com/c/prod...ording_LTC_OUT_EPIC_CLOCKIT_TC_OUT_cable.html




Richard Williams said:
Hi Jaimy
I am interested in the Sound Devices Mix pre 3 or 6. I am wondering how you sync your recorder with a Red camera?
From my reading the SD mix pre series only out put time code through HDMI or do I have that wrong?
The mix pre 3 seems very light, so that interests me whereas according to spec sheet i have read the Zoom 4 is heavier than the Zoom 8??? maybe I have that wrong as well?
I live in a remote area so i can't easily see these devices so any help would be appreciated.
Click to expand...
 
Used a Tentacle Sync on my last shoot, with a RED Dragon Epic:

sevqma.jpg


Although I just got an Ultrasync ONE kit which I'll use with this weekend's shoot with a Panasonic Varicam.
 
Jaimy Soares said:
Why no timecode? Isn't it a bitch to sync everything manual?

I would sugest looking at a tentacle sync. I use them with the mixpre 6 it's rock solid:)
Click to expand...

Jaimy,

What bag are you using to house/protect your Mixpre-6? I'm getting ready to pick up a Mixpre-6 but I'm not sure which bag would be a good fit for it.
 
Richard Williams said:
Hi Jaimy
I am interested in the Sound Devices Mix pre 3 or 6. I am wondering how you sync your recorder with a Red camera?
From my reading the SD mix pre series only out put time code through HDMI or do I have that wrong?
The mix pre 3 seems very light, so that interests me whereas according to spec sheet i have read the Zoom 4 is heavier than the Zoom 8??? maybe I have that wrong as well?
I live in a remote area so i can't easily see these devices so any help would be appreciated.
Click to expand...

Richard,

I'm not 100% sure about the SD Mixpre-6's TC, but based on the B&H review and the info on the Mixpre-6 page, it appears that you can do non-HDMI TC with the Mixpre-6. Here's what it says on the specs page:

Timecode
Time of Day: File stamped w/current ToD
LTC Input: File stamped w/incoming LTC on Aux 1/8" (3.5 mm)
HDMI TC: File stamped w/incoming TC from HDMI & sample clock slaved from HDMI sample clock. Only works on specific cameras that support HDMI TC

I'm just now trying to figure out a TC setup, so, by all means, get a more informed answer as I'm not sure how accurate my response is. Maybe some of these others can chime in and answer.
 
I checked out the Sound Devices MixPre6 in person (don't even bother considering the MixPre3! Not worth it) recently:


The MixPre6 is incapable of holding TC by itself. To maintain TC in your bag, you will lose inputs 5/6, and then unfortunately be limited to only four ISO tracks at once.

Personally I see the Zoom F4 or F8 as a much better deal.
 
I keep my sound package simple.
Sound devices MixPre3
2x Sennheiser AVX w/ MKE2 lavs
Sennheiser MKE 600 - Shotgun Microphone
Time Code systems :wave + 2x ultra sync one

This system has been bullit proof, works great, sounds great, super easy to set up.

If I need anything more complicated, I hire a sound guy.
 
Ryan Williams said:
Richard,

I'm not 100% sure about the SD Mixpre-6's TC, but based on the B&H review and the info on the Mixpre-6 page, it appears that you can do non-HDMI TC with the Mixpre-6. Here's what it says on the specs page:

Timecode
Time of Day: File stamped w/current ToD
LTC Input: File stamped w/incoming LTC on Aux 1/8" (3.5 mm)
HDMI TC: File stamped w/incoming TC from HDMI & sample clock slaved from HDMI sample clock. Only works on specific cameras that support HDMI TC

I'm just now trying to figure out a TC setup, so, by all means, get a more informed answer as I'm not sure how accurate my response is. Maybe some of these others can chime in and answer.
Click to expand...
Thanks Ryan
I ended up buying a Mix Pre 3 with two Tentacle Sync Boxes. You can put time code in the Mix Pre 3 via a 3.5mm jack from the Tentacle sync.
I mount the Mix Pre 3 behind the V-lock battery and use the tentacle sync boxes to sync the camera and the Audio recorder. I have found this set up works really well and really like the light weight, small form factor of the Mix Pre 3.
cheers Richard
 
No worries! I'm glad you found something that works for you. I've decided to go big on my audio upgrade and I'm looking for a used SD 633 at the moment. I'm also keeping the 664 in the running as well, but it is a lot of recorder/mixer and I don't think I'll ever use that many channels. I've kep the 664 in there because I can get a used one at the same price as a new SD 633, and there seem to be almost no used SD 633s out there. I'll keep looking for now.
 
Ryan Williams said:
No worries! I'm glad you found something that works for you. I've decided to go big on my audio upgrade and I'm looking for a used SD 633 at the moment. I'm also keeping the 664 in the running as well, but it is a lot of recorder/mixer and I don't think I'll ever use that many channels. I've kep the 664 in there because I can get a used one at the same price as a new SD 633, and there seem to be almost no used SD 633s out there. I'll keep looking for now.
Click to expand...

Took a good look at the MixPre-10T as well that Sound Devices announced today.

I blogged about this yesterday before anyone else knew about it ;-)

http://ironfilm.co.nz/leaked-is-a-new-sound-devices-mixpre-10t-coming-soon/

World first exclusive :-P
Was very surprised how quickly after my blog post went live that they then announced it! Maybe I'd pushed them to do that....


Check out the launch video:


https://www.youtube.com/watch?v=lY5Cm0se-pw


Even if you decide to not buy one, and go for a secondhand 633, this is still very good news for you! As I bet this will push down (but only a little? Because as you noted, there are almost no used 633 out there! People buy them, then never sell them... and if they do go up for sale, they disappear immediately!) the prices of secondhand 633 recorders.

Ryan Williams said:
I'm also keeping the 664 in the running as well, but it is a lot of recorder/mixer and I don't think I'll ever use that many channels. I've kep the 664 in there because I can get a used one at the same price as a new SD 633, and there seem to be almost no used SD 633s out there. I'll keep looking for now.
Click to expand...


Do remember the 664 was the first of the 600 series, and thus is rather very different to the 633/688 which came afterwards (this is why they can do Dugan, but it is impossible that the 664 ever will be able to).

Personally I'd never buy a 664 over a 633/664 (unless it was offered to me at crazy cheap prices! Like 552 level cheap).
 
I'm still planning on going for a SD 633. The MixPre-10T looks to be a solid unit, but I don't need 10 inputs and 12 tracks. I'd prefer the SD 633 over it and I'm hoping that the advent of the 10T causes a few people to give up their stranglehold on their used SD 633s. We'll see. :)
 
I strongly doubt anyone would be selling their 633 to get instead a MixPre-10T (although I imagine a few 633 owners might be buying a MixPre-10T as a back up, or secondary recorder, such as when they need the extra channels). But should help reduce a little the (VERY!) high demand there is for a secondhand 633 (because often a secondhand 633 will sell for only a little less than their brand new price!).

btw, am curious as to why you even want a 633? As I see you own a RED Weapon, so not a sound recordist? Then simply any one of the Sound Devices MixPre6/10T or Zoom F4/F8 would ably fill your needs as a stop gap measure when you can't get a sound recordist on a shoot.

http://ironfilm.co.nz/which-sound-r...various-indie-priced-sound-recorders-in-2017/
 
Jon Dishler said:
recently got the timecode systems ultrasonic -- very satisfied, especially if you have a SD 633, their software bridges between both nicely.
Click to expand...


I have my fingers crossed the Sound Devices MixPre-10T will have this functionality too with the :wave, as if so then I'm certainly going to get myself a MixPre-10T in the future.


Nathan DuMoulin said:
This is what worries me. I know that I should have TC sync boxes attached, but I hate clutter. So I'll have to do some testing and hope the camera doesn't drift too far. Can't say I'm overly optimistic.
Click to expand...

I'd never ever recommend using time code from a RED if you don't get a TC box permanently attached to it.

And TC boxes these days are so cheap, small, and lightweight, that there really is no excuse not to! :-)

Richard Williams said:
Hi Jaimy
I am interested in the Sound Devices Mix pre 3 or 6. I am wondering how you sync your recorder with a Red camera?
From my reading the SD mix pre series only out put time code through HDMI or do I have that wrong?
The mix pre 3 seems very light, so that interests me whereas according to spec sheet i have read the Zoom 4 is heavier than the Zoom 8??? maybe I have that wrong as well?
I live in a remote area so i can't easily see these devices so any help would be appreciated.
Click to expand...


You don't want to take time code out of the MixPre-3 or MixPre-6, rather you want to send TC in via the 3.5mm input. Then you have one Ultrasync (or Tentacle) in your second recordist's bag, and another one on the RED as well.

You will however lose inputs 5/6 from the MixPre-6, meaning you can only record a max of 4 inputs with the MixPre-6 when also using TC in your bag.

I was very disappointed when I learned this last month:

https://www.youtube.com/watch?v=nEFY6xM3Vh4


Neither the Zoom F4 or F8 have this flaw, as they can hold TC by themselves perfectly 100% accurate (so long as they stay on).

I really do love my Zoom F4, I reckon it is easily the best value recorder on the market right now, and I frequently can be recording six inputs into it all at once:

https://www.youtube.com/watch?v=zXSLbg8DrqA


I see the specs say the F4 weighs 1kg while the F8 weighs 0.95kg.

Practically speaking that is no difference at all! The F4 and F8, more or less both weigh the same as each other, and are the same size. They just have a little bit different design to each other (personally I prefer the F4 design, aside from the missing bluetooth and color screen).
 
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David Peterson said:
btw, am curious as to why you even want a 633? As I see you own a RED Weapon, so not a sound recordist? Then simply any one of the Sound Devices MixPre6/10T or Zoom F4/F8 would ably fill your needs as a stop gap measure when you can't get a sound recordist on a shoot.
Click to expand...

David,

Yes, I do own a camera but I don't believe that should preclude my from wanting (or getting) a quality device for sound. I mean, making movies/films and being into sound are not mutually exclusive, are they? Subjectively, some of the best film makers had a lot of experience in both fields, the visual and the audio (not just visuals). I may get beat by some for saying this, however it is my belief that sound is just as important as the visuals are! Due to factors out of my control, I'm often in places where it is prohibitive to rent equipment or hire a sound recordist. Furthermore, if I want to do my own projects (read: not for business purposes) I can just do my own sound, ala OMB (see previous sentence for restrictions on why I can't hire soundie or rent equip). Lastly, besides learning the sound component of movie making, I may also be able to pick up more work here and there, as a sound recordist, after practice and study.

As for the SD 633 specifically, my soundie buddy found out I was wanting to get into the audio side of things more and has just pushed for it (based on my typical setups and sound needs). He's been doing sound for quite a few years, so I put a lot of stock in his judgement and experience. I honestly believes he only wants the best for me, so I trust him when he gives me advice. I agree with him on the philosophy of buy once/cry once and do it when I can afford to.

While most of the products you listed would probably work, they all have their pros/cons based on my research and feedback from soundies (not just my buddy). From my perspective, being the aspiring sound artist, the Zoom's appeared like they would work out. However, the majority of soundies I've talked and gotten feedback from about their use of the F4s/F8s is that they just aren't at the same level of SD quality (both in sound and build). This isn't me saying don't buy Zooms, this is just me relaying what more experienced and learned individuals have told me.

I had initially started looking at the 664 due to lack of used 663s and found that I could get a used 664 for the same price as a new 663. However, my buddy and you both pointed out some flaws to that path, so I've ditched that and now I'm back to where I started. I know it is unlikely but I will continue to look for a used 633. There is a reason so many standby that specific unit. I know I'm opening myself up here to be mocked for wanting to do both sound and visuals, but from where I'm sitting, I don't know any other way to get it done than to do the sound portion myself. Hopefully, this will elucidate my choices/desires when it comes to the 633.
 
Just curious, as in a way I'm in a similar boat as you, with both a love for cinematography and production sound.

But it is tough being this kind of "generalist", and you'd get better results if you're known in the market as a specialist who is focused on one thing. Rather than confusing people perhaps with what kind of crew person you are.

And as I'm finding greater success in the sound dept than the camera dept, I thought I'd focus on sound, as I enjoy both after all so it makes no great difference to me in the end (and cinematography is put on a back burner for me, and is just kept up more as a hobby instead).

Additionally, it is very very expensive to build up all the gear you need for either! So to try and do both at once, will dilute down your ability to do one of them well, as you'll need to compromise somewhere.

A pro kit in either field will run to many tens of thousands of dollars. So personally for me I've decided my Sony PMW-F3 + BMPCC + handful of Panasonic MFT bodies + Rokinon Cine DS lens set + Sigma lenses + Nikkor Pre-AI lens set + okay... I have too many lenses! There are even more + various other bits and bobs + etc is more than enough camera gear for me for now! And I should put a STOP to it :-o

Purely focused on sound gear for now ;-) Getting all the bits and bobs needed, as mostly I'm happy with what I have, just further refinement (getting the BDS sorted, adding a few more specialist cables for all sorts of things, heaps more adapters, a few more spare lav mics for my transmitter packs, etc). But basically for now, I've got the core of my kit settled, which you can see the gist of it here (is not totally 100% up to date, but gives the general idea):

http://ironfilm.co.nz/sound/

Stuff is going well for me, but even optimistically speaking, I reckon my F4 can last me easily the next year or two of my career trajectory (and many years longer than that as a back up alternative recorder to keep around). If I buy anything sooner, it would be not because I *need* it but because I *want* it! (which is quite a likely possibility! :-o) Until then, I can just keep on saving up, and hope to see a 633mk2 or Maxx mk2 announced? (please!) If I do feel the itch to spend thousands, it would be much better off spent on 2x SRb instead of a new recorder!


Anyway, when it comes to getting advice from pro soundies who have been doing it for decades, they can certainly give you very valuable advice indeed! And I try to seek it out from them too when I can.

HOWEVER.... also take it with a big grain of salt, as they are not you, and it has been many decades since they were you, and even back then..... they still were not you, and they lived in a totally different world than the world we are in today in 2017.


It is a bit like when a student who just started film school comes and posts on reduser asking if he should buy a secondhand RED Epic Dragon kit? And heaps of people reply saying what a great idea this is and how wonderful their Epic has been for them!

Wellllllll..... no. For a very small niche of people in his shoes, it makes sense to make that purchase. For the vast majority of people however who have just started film school they should buy a Panasonic G80 (or GH5 if they have rich parents, or if truly broke college students not a G80.... but a GH1 even! Or heck, not buying any gear at all while in college isn't a crazy idea either). Then somewhere between a year to five years after college graduation, buy a FS7 (or whatever is the latest most popular entry-mid range camera at that point in time). Then a few years later after then.... that is when the time is right to consider a higher end RED (or a Sony VENICE or Panasonic Varicam or Arri Alexa Mini, or whatever on earth cameras we have popular by then).

So the question you need to ask yourself, is where in the audio world are you in this climb up? I'd say I'm hovering between a GH5 and a FS7, or in other words F4/633. (actually no, an F4 is more like an FS5 but at a GH5 price!!! Thus why I sometimes think I might even skip over the "FS7" of the sound world, the 633, and just wait until I can reach up straight to the "RED/Arri/CineAlta" of the sound world. Such as 688 / Nomad 12 / Sonosax / etc. Or at least wait until the 633mk2, or Maxx mk2, comes out which would make it a bigger and more worthwhile leap up for me to upgrade to).

I take a wild guess for yourself, you're advanced well beyond DR60D/DR70D stage and firmly in the F4 range, but short of the 633. As unless you can justify spending double the amount (of a 633, so around US$10K RRP in total) on all the other audio gear then I absolutely would not recommend a 633 for you. (as you'd be left with an unbalanced audio kit, vs if you'd got an F4 it would have freed up more cash for a more versatile sound kit that is fairly complete in most areas)

Another way to think about this is to consider an analogy of back when the HDSLR Revolution happened, if you'd asked some veteran industry pros back then about buying a GH1/5Dmk2, they'd say "HELL NO", and you should buy one of the $50K broadcast cameras instead! Or maybe someone who understand just how limited your budget might be, would suggest something like a Sony EX3 with a S35 adapter. (you can see this happening in the sound world right now when a person recommends to a newbie a 552 over a F4!! Crazy)

Because they're oblivious to the HDSLR Revolution which is happening all around them, and they'd never ever tried out HDSLRs, or maybe they had but approached it wrong (which is very likely! As they're coming in with a completely 100% wrong mindset to shooting with them if they can't shake their old habits). So it takes a few years before they catch up and realise the benefits of HDSLRs for many productions (especially smaller budget ones).

I'd made the observation a few times, that the last couple ish of years or so for the production sound world has kinda been like our "HDSLR Revolution"! But for sound.

With the explosion of decent recorders, and an explosion of lower priced TC options, and more microphones being released, and more wireless likely just around the corner, and an explosion of information sources to learn from too. (Matt Price being a big one, and Wavreport being another site that just started. Oh and my YT channel too! ;-) ha)


One related example of what I mean is you can talk to some pro soundies and they might never even have heard of the Sony UWP-D11, and fair enough, why should they need to know about them? They probably don't, as they're living in a totally different world.

And if they do need a cheap wireless, they can either just use one of their older sets they've got spare, or if they really do need to *buy* one then they would probably just go for the tried and trusted G3. Why? Because their time is valuable, and they're busy with a steady stream of work. Unlike myself who will happily spend dozens of hours researching items before I make a purchase decision. Because: I'm a gear nerd and ENJOY this, and my time is worth relatively less than theirs, and I'm obsessed about this.
 
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David Peterson said:
Just curious, as in a way I'm in a similar boat as you, with both a love for cinematography and production sound.

But it is tough being this kind of "generalist", and you'd get better results if you're known in the market as a specialist who is focused on one thing. Rather than confusing people perhaps with what kind of crew person you are.

And as I'm finding greater success in the sound dept than the camera dept, I thought I'd focus on sound, as I enjoy both after all so it makes no great difference to me in the end (and cinematography is put on a back burner for me, and is just kept up more as a hobby instead).

Additionally, it is very very expensive to build up all the gear you need for either! So to try and do both at once, will dilute down your ability to do one of them well, as you'll need to compromise somewhere.

Purely focused on sound gear for now ;-) Getting all the bits and bobs needed, as mostly I'm happy with what I have, just further refinement (getting the BDS sorted, adding a few more specialist cables for all sorts of things, heaps more adapters, a few more spare lav mics for my transmitter packs, etc). But basically for now, I've got the core of my kit settled, which you can see the gist of it here (is not totally 100% up to date, but gives the general idea):

http://ironfilm.co.nz/sound/

Stuff is going well for me, but even optimistically speaking, I reckon my F4 can last me easily the next year or two of my career trajectory (and many years longer than that as a back up alternative recorder to keep around). If I buy anything sooner, it would be not because I *need* it but because I *want* it! (which is quite a likely possibility! :-o) Until then, I can just keep on saving up, and hope to see a 633mk2 or Maxx mk2 announced? (please!) If I do feel the itch to spend thousands, it would be much better off spent on 2x SRb instead of a new recorder!

Anyway, when it comes to getting advice from pro soundies who have been doing it for decades, they can certainly give you very valuable advice indeed! And I try to seek it out from them too when I can.

HOWEVER.... also take it with a big grain of salt, as they are not you, and it has been many decades since they were you, and even back then..... they still were not you, and they lived in a totally different world than the world we are in today in 2017.


It is a bit like when a student who just started film school comes and posts on reduser asking if he should buy a secondhand RED Epic Dragon kit? And heaps of people reply saying what a great idea this is and how wonderful their Epic has been for them!

Wellllllll..... no. For a very small niche of people in his shoes, it makes sense to make that purchase. For the vast majority of people however who have just started film school they should buy a Panasonic G80 (or GH5 if they have rich parents, or if truly broke college students not a G80.... but a GH1 even! Or heck, not buying any gear at all while in college isn't a crazy idea either). Then somewhere between a year to five years after college graduation, buy a FS7 (or whatever is the latest most popular entry-mid range camera at that point in time). Then a few years later after then.... that is when the time is right to consider a higher end RED (or a Sony VENICE or Panasonic Varicam or Arri Alexa Mini, or whatever on earth cameras we have popular by then).

So the question you need to ask yourself, is where in the audio world are you in this climb up? I'd say I'm hovering between a GH5 and a FS7, or in other words F4/633. (actually no, an F4 is more like an FS5 but at a GH5 price!!! Thus why I sometimes think I might even skip over the "FS7" of the sound world, the 633, and just wait until I can reach up straight to the "RED/Arri/CineAlta" of the sound world. Such as 688 / Nomad 12 / Sonosax / etc. Or at least wait until the 633mk2, or Maxx mk2, comes out which would make it a bigger and more worthwhile leap up for me to upgrade to).

I take a wild guess for yourself, you're advanced well beyond DR60D/DR70D stage and firmly in the F4 range, but short of the 633. As unless you can justify spending double the amount (of a 633, so around US$10K RRP in total) on all the other audio gear then I absolutely would not recommend a 633 for you. (as you'd be left with an unbalanced audio kit, vs if you'd got an F4 it would have freed up more cash for a more versatile sound kit that is fairly complete in most areas)

Another way to think about this is to consider an analogy of back when the HDSLR Revolution happened, if you'd asked some veteran industry pros back then about buying a GH1/5Dmk2, they'd say "HELL NO", and you should buy one of the $50K broadcast cameras instead! Or maybe someone who understand just how limited your budget might be, would suggest something like a Sony EX3 with a S35 adapter. (you can see this happening in the sound world right now when a person recommends to a newbie a 552 over a F4!! Crazy)

Because they're oblivious to the HDSLR Revolution which is happening all around them, and they'd never ever tried out HDSLRs, or maybe they had but approached it wrong (which is very likely! As they're coming in with a completely 100% wrong mindset to shooting with them if they can't shake their old habits). So it takes a few years before they catch up and realise the benefits of HDSLRs for many productions (especially smaller budget ones).

I'd made the observation a few times, that the last couple ish of years or so for the production sound world has kinda been like our "HDSLR Revolution"! But for sound.

With the explosion of decent recorders, and an explosion of lower priced TC options, and more microphones being released, and more wireless likely just around the corner, and an explosion of information sources to learn from too. (Matt Price being a big one, and Wavreport being another site that just started. Oh and my YT channel too! ;-) ha)


One related example of what I mean is you can talk to some pro soundies and they might never even have heard of the Sony UWP-D11, and fair enough, why should they need to know about them? They probably don't, as they're living in a totally different world.

And if they do need a cheap wireless, they can either just use one of their older sets they've got spare, or if they really do need to *buy* one then they would probably just go for the tried and trusted G3. Why? Because their time is valuable, and they're busy with a steady stream of work. Unlike myself who will happily spend dozens of hours researching items before I make a purchase decision. Because: I'm a gear nerd and ENJOY this, and my time is worth relatively less than theirs, and I'm obsessed about this.
Click to expand...

David,

Point well taken here. For the record, I've done exactly as you said already, and taken the advice given with a grain of salt. However, one specific place where I did not want to skimp unless I HAD to, was the recorder/mixer. I agree with what you are saying in regards to crawl, walk, run mentality for most things. I'm def. still learning, and you are right in that I could probably make the MixPres or F4/F8 work. I don't know exactly where I am in the ladder, but I do know that if I invest in some quality gear that gives me room to grow and learn, and that will last me a LONG time, I'd be much happier that I invested properly at the get go instead of just doing the bare minimum to get buy. This isn't always the optimal path and the path that I chose may not work for others.

To be clear, I'm not putting forward the notion that I am going to buy the top of the line EVERYTHING from the get go, just because it is what the pros use (nor do I have the funds to do so). I do think that the central piece of the field audio kit is the mixer/recorder. It is the central thing that brings everything else together (ish) and because of that, I'm willing to make an investment into a solid device. That being said, I may end up getting impatient and just settling. Settling, in my experience, never seems to leave a person satisified. So I guess for now, I'll just have to wait and save my monies until I find a good deal.

As far as the compromising goes, yes, I cannot do everything all the time. But for where I am at in this rat race, it will work. I'm not in the traditional environment, so I have the ability to not have to worry about departments (for now). When it comes to marketing, I seperate my avenues of approach so I don't give people the notion that "I'm not that great at anything because I fulfill multiple jobs on shoots". I don't find that mentality to hold true on everything. If I do find myself in the traditional setting (which is where it sounds like you are, no pun intended), I would probably opt to work in the camera department. I still probably have a few more years of doing what I do before I can look at those avenues though. Until then, I'd like to practice both of my crafts, even if I suck at them both. I have no illusions that good/great/amazing gear will turn me into a renown pro. If I practice and stick to it though, it will pay dividends down the road...possibly.

Edit: Oh, and the things I'm missing from my kit are Lavs, TC, and a legit mixer/recorder. Since TentacleSync or UltraSync are both relatively inexepensive, I'm not worried about the TC portion in terms of budget. I do however worry about the lack of any decent pro-am/mid-range lavs. It seems like I'm either dragging the bottom with shit mics/lavs or shooting for the moon with Lectrosonics, etc.
 
Ryan Williams said:
I do however worry about the lack of any decent pro-am/mid-range lavs. It seems like I'm either dragging the bottom with shit mics/lavs or shooting for the moon with Lectrosonics, etc.
Click to expand...


Yeah as I said in our messages, there is quite a big gulf between the "no budget options" (RodeLink/Senal/G3/UWP-D11/etc) and the latest pro grade wireless.

Basically.... almost nothing!

Unless you go the secondhand path, which is what I did, I have picked up several Lectro 200 series from eBay for rather cheap.

Otherwise just go with Sony UWP-D11 (the best of the "no budget wireless" options) and get OST Lavs for it.

Because it is quite good bang for buck to get one of the entry level wireless but with a nice lav microphone being used with it. Better than the opposite way round!

However because you seem to travel a lot around the world (which places, how often? Because everywhere in the world has different wireless frequencies which is appropriate) then it could be smart to splurge the extra to get the latest wireless which have wideband

For instance the Wisycom MTP40S has an insane breadth of (up to) 232 MHz bandwidth!!! :-o

http://www.wisycom.com/www3/products/category/bodypack_transmitters

http://www.wisycom.com/www3/products/product/mcr41s-42s

A couple of transmitters, with a dual receiver, and you could use that in many places in the world.
 
David,

Thanks for the solid advice. Ya I do tend to travel a lot, but I don't think I'll be shaping my audio kit for work in the places I'll be traveling. Well, not the lav stuff anyways. I think the rest of my audio kit (my boom and mics) are all frequency agnostic when it comes to travel since they are wired.

I'll still check out those wideband systems though. :)
 
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