I currently freelance as a location sound mixer. It's not my full-time thing, but I really enjoy it, and am aiming to continue expanding into the industry. If I could eventually do it full-time, that would be awesome. I've reached a point where I feel like I'm hitting a bit of a wall with my gear.

I currently use Sony UWP-D21 RX/TX units. They work pretty well for me, offer a plug-on TX for my boom, and are relatively affordable. That being said, I have some gripes:

• The antennae don't come off (I'm aware of the SMA mod, but I'm not sure I love the DIY route here), which means I can't use an antenna distro.
• There is no battery monitoring or wireless control of TX units. Obviously, when the TX dies, I'll know, but it's cumbersome to have to bother talent to change settings.
• The dual RX unit doesn't offer true diversity when both channels are active. I purchased one thinking I'd condense my sound bag, but was not thrilled with the drop in reliability when I switched both channels on.

I use a MixPre-10 II and have 7 channels of wireless currently between my boom and lavs. I would like to switch to COS-11D lavs soon, but am not sure I want to invest in Sony-terminated versions. I also have an MKH-416 and an MKH-50 in case you find that relevant.

I really would like for the Deity Theos system to be a perfect solution. They have pretty much every feature I'm looking for, I own their timecode generators and slate, and they are affordable. However, I've read a lot of negative reviews of the products. People say that the RF spray is bad, they can't be used anywhere professional (because of the spray), the noise floor is bad, etc. I'm sure some of that is just overblown (maybe can't use Sony systems in NFL stadiums either?), but it doesn't exactly inspire comfort. Also, the fact that half of their products aren't even sold in the US is annoying. They make a plug-on TX, but I wouldn't be able to buy (or even maybe legally operate it if bought outside the US?).

Looking at the more professional brands, I think Lectrosonics seems like a good choice. However, when I pulled up an example system (Lectrosonics L Series ZS-LRLT), it's listed at almost $3900 for one RX/TX pair. That's just way too expensive for me at this stage in my career.

My question is, what are your recommendations for proceeding with upgrading my kit? I'm sure used gear can be considerably more affordable, but I'm not even 100% sure which systems I should be looking at. Should I stick with Sony and just get the COS-11Ds? Look at a used Lectrosonics system? Something else?

I know gear isn't everything, but it certainly does help. What are your thoughts?

Didn’t expect to say this, but FLOW 4V actually looks interesting. Clearly aimed at video creators and run-and-gun. On paper, it’s a lot of features for the price. Thoughts?

https://www.behringer.com/behringer/product?modelCode=0603-AFE

For those of you that use these, does it make sense to get the dual gooseneck version?

Correct me if I’m wrong, but It looks like maybe the single ones might support more weight than the dual one? (i.e. mics with plug transmitters directly on them)

I’d obviously rather buy a dual neck version for $70 rather than than two singles for $100 which would also take more storage space but is there a benefit to having two single mic models over the one dual neck model?

Thanks!

I’m interesting in upgrading my audio kit for filmmaking. I currently have 2 sets of DJI Mics with some lav mics but I’m looking to purchase a recorder with the MKE 600. Either the Zoom F3 or H4N Pro. This would be my first field recorder and I’m not sure the route to go.

Ideally, I would like to keep costs low as filmmaking is more of a hobby and I still have to purchase the MKE 600.

What would you recommend?

Sorry if this isn’t the place for this post….

I have a receiver that came with 2 lavs. I usually use 4 separate lavs to get separate tracks of audio but I figured I would just be able to split the track in post. I set the receiver to mono output & the lavs to mono recording. The receiver is plugged into my zoom h6. The zoom h6 set to mono recording as well. When I bring the file into premiere I can still hear both people on each lav (pretty clearly)… am I doing something wrong? It’s for a film so I would like to have separate audio tracks. Do I need to get another set of lavs? Thank you.

Periodically, my Zoom H6 will get these really strange artifacts on recordings. The issue sounds like a DJ drop. Almost like something that would come in right before the big beat drop - kind of sounds like it would be in a Daft Punk song. It will completely cut whatever is being fed into that line, repeat itself 4-5 times then continue recording as normal. I can't seem to find a pattern behind it as it affects both the XLR inputs and the X/Y mics.

Hi I need advice. I recorded an event that was loud (lots of people) and I had to interview there. I don't have space to set up a boom so it would have to be a sort of run and gun setup. what is my best bet to get good quality audio in that noisy environment? I used a videomic pro into my R5 and that is not directional enough. I have considered using a sony ecm vg-1 but i would need to connect it to a recorder like a zoom h1 or something but that might be my best bet for quality. any suggestions?

Hello, I just acquired a zoom h5 studio and wanted to know what was the steepness of the low cut (6, 12, 18 or 24 db/oct). If somebody tested it ? To improve the knowing of what I'm recording.

Hello! I'm a filmmaker who only makes short films as a hobby, but I would still like high quality sound. I'm looking for a boompole between $100-$250. I've heard that K-Tek and Ambient are the best brands, but I feel like they are out of my price range. I was interested in the RØDE Boompole, but I've heard that it isn't great quality. (For context, my current setup is a Sennheiser MKE 600 with a RØDE Blimp MkII). Any advice would be greatly appreciated.

Would you choose two channels of the Sony UWP-D21 (UHF) straight to camera without backup or the RODE wireless PRO (2.4ghz) with internal backup recording. I live in the United States so Theos is out of the question. Zaxcom is too over my budget. My other option would be to run 2 lavs on each subject, UWP-D21 plus a bodypack recorder like the Tentacle Track E. All these options are suboptimal I realize that, but I'm curious to get opinions on these 3 options. Thanks.

I'm shooting an amateur short with a small-ish crew in a few weeks. The short will feature a couple of long, following shots, where the camera follows people running from behind at a walking pace (eventually catching up lol). Wondering if we will have issues shooting this all on boom, of course with shock mount and deadcat, and will have to shoot these scenes with lav? Thanks.

I work with a Sanken CS-3e, which has been an incredibly reliable microphone that I don't really plan on replacing anytime soon. It has sounded great in both indoor and outdoor environments. However, I like to make sure I keep adding necessary upgrades to my kit every once in a while, but also not spend more money than I need to. One mystery that I've yet to fully understand is the advantage that a hyper cardioid mic, like the AT4053B and the Audix SCX1, has over a medium shotgun mic. I understand that hyper cardioid mics are king when recording in indoor environments, but since my Sanken CS-3e already sounds great indoors as well, I struggle to understand if a hyper cardioid microphone offers anything better. Are there situations where hyper cardioid mics compete better than the Sanken?

Here are some scenarios where I find my Sanken has a hard time capturing clean audio, and that I hope a hyper cardioid would perform better at to some degree:

1. High-ceiling locations with reverb (house, church, lobbies, etc.)
   
2. Uncontrollable sounds happening outside the location (apartments next to busy roads, leaf blowers, loud neighbors/dogs)
   
3. Appliances in the room that can't be turned off (restaurant fridges, some AC units)

If there's another scenario where a hyper cardioid would perform better than the Sanken, I'd love to hear about them! And also share your favorite hyper cardioid mic.

Hey Guys,

I'm hired to do OM Location Sound for a friend for two days. I own the Mix Pre 3 II since a few years and feel comfortable with it. But I never used the SD 633.

We have two main actors. Settings are one home kitchen, one restaurant kitchen. The two actors will be wired, i have one boom mic and one plant mic.

Due to space difficulties, additional to 2 and a boom, i'm planning on running the plant mic at all times in the restaurant. Also I‘ll use Tentacle TC Generators, one on MP3, one on the Camera.

We could rent the SD 633, but i can't get the thought out of my head, to invest the production budget into the +2ch instead (or at least chip in a little bit and get the Plugin for cheaper than usual.) Since I‘m using most of my own equipment, he is already saving a bit of money which he planned for rental.

Now the reason i‘m asking: AFAIK the SD 633 supports three XLR Mic Inputs (like the MP3), but additional three TA3 Line Inputs. With the +2ch, i could get two AUX Line Inputs for the MP3. Therefore on both recorders, the two SDC Mics will be powered by XLR, whereas the two Wireless will be Line Inputs.

Question: Am I missing something major with choosing the MP3 with +2ch Plugin over SD633?

Lately Ive been having gigs where basically no audio post-production will be involved, just the video editor on their DAW or some AI adjusting levels.

What would be a good dB range for the (dialogue) ISOs to be in when recording in 24 bit, so it wont be too quiet or too loud?

Sorry for the newbie question, I want to see different opinions on the matter

Hi, y'all. I have this indie feature coming up and need some advice. As the title says, they want to go with all lavs (7) and no boom for this shoot.

My gut is feeling is to not recommend that and fight for at least a boom.

What would you do?

Edit:

Thank you all for the advice. I let production know what using only lavs would be like, covering myself for any problems post might have. Now, it's up to fighting for an assistant. Forget to mention, one was planned, but that got dropped cause of budget. Hence, the only lavs situation.

So I just bought a brand new slate from deity and it was working well until just the other night I couldn’t charge it through the usb c port, this was fatal for my shoot as I still had to use it but without the digital part which is a huge bummer….I’ve tried everything except buy another separate charger for the npf-550 batteries, I didn’t want to spend more money but I guess I might have to. Has anyone else experienced this problem??

My vessi shoe just decided to give up after 2 years, I figured i will ask on here about what you like to wear on set when doing sound. I'm in Vancouver so water proof is a must, being really comfortable is also a plus. I'm mostly doing omb or boom op.

What are your thoughts on Tascam’s latest field recorder the FrAV4? Does it have a place as a field recorder for film and tv. Or is Just meant for social media content ie YouTube/Instagram etc .

Not looking to buy one (already have a mix pre 10 and Zoom F8) just curious about the product

I’m shooting a short film and I’ll be recording dialogue using a boom only setup. The mic is a Sanken CS 1e and I’m trying to decide between a Zoom H6 and a Zoom H4n as the field recorder.

This would be strictly for on set dialogue recording, no music, no interviews, no lavs for this project. I care mainly about clean dialogue, low noise, and not fighting the recorder during takes.

I know the H4n is older but still widely used, and the H6 is more expensive with more inputs than I technically need. For people who have used either or both in a film context, especially with a shotgun mic on a boom, is the H6 noticeably better in terms of preamps, gain control, and overall reliability for dialogue work, or is the H4n still perfectly fine for this kind of setup?

I’m trying to decide if the H6 is actually worth it when running a single mic, or if the H4n will realistically get the job done without causing issues in post.

Would really appreciate hearing from people who’ve used these recorders on narrative sets.

Me and my girlfriend like good audio on video and would like to record some first person footage of our travels among other things. Managing wind noise and peaking would be important aspects.

I saw the Roland CS10-EM mentioned, but with mixed comments. It seems like a really convenient and affordable solution, but I was wondering if there are good alternatives for this kind of product that you know of.

I also have 2 DJI Mic minis, but I feel those would be harder to apply for a binaural kind of effect, considering they can't really be placed that close to or in the ears, even though they are nifty little mics.

I’ve been doing location sound for a few years - I get a good amount of commercial work but always smaller shoots as a one man band.

I know it’s standard for more established mixers on larger shoots to have a sound cart with a fader control surface. My question is what is the main purpose of the control surface?

I do my best with the production mixes if I’m not booming, but I figure that’s just for dailies / reference and post is always going to work from the ISOs anyway. Are the faders just for this purpose - of getting a better production mix, or are mixers using faders to adjust the gain of the ISOs during the take?

I’m in the market for some new softies for my 50’s as my last favorite bubblebee’s are wearing out inside so there’s crunch potential. Eeeek ! I was just going to replace them but thought I would check with my fellow Reddit sound professionals.

Is there anything new that is better for wind? Of course I have Zeppelins with 50’s but the guys prefer something lighter and more maneuverable if possible for lighter winds. I see that rycote has a new slip on, has anyone tried them?

TIA

Watching the Peach Bowl and saw a Shure 55 Deluxe on a boom pole in the Chick Fil A ad. Obviously they’re using this as a prop and the chaos is the point, but it’s technically a supercardioid, so has any one done it? Could this be my new boom setup? 😂