I'm putting together my personnal boom op kit. A portable mic preamp was what was missing, and I found an almost new MM-1. I love Sound Devices, love their analog gear, I'm very happy with it and can't wait to use it.

Before that I already had a Sony UWP-D16 wireless pack, with only the UTX-B03 and URX-P03 (without the UTX-P03 XLR then), as it's what I found for cheapest for my first lav gear. While testing my boom setup I realise that the UTX accepts line level inputs, but at the other end the URX only outputs at mic level. The manuals doesn't say anything on where or how the attenuation is done, but I guess it's probably digital. The TX RF power is apparently 30mW/5mW, though I have no clue on how to interpret that.

My main concerns are that I don't know and can't really control what happens with the TX/RX, that a digital attenuation may lower the signal quality, and that running the signal through two preamps (my MM-1 and the receiver mixer) can also significantly lower the signal quality.

If that's of any relevance, I have an Oktava MK012 and a Sennheiser MKH416, and these are probably what I'll be using most of the time.

So my question is this: should I

• Set the transmitter to accept line level input and let the pair do the attenuation to mic level? Would it guarantee a stronger wireless signal and better transmission?

• Set the transmitter to accept mic level input so that I'm not dependant on whatever happens inside the Sony pack and can use a higher quality analog solution? What would it be, just a pad cable?

• Look for an other wireless pack that can run at line level through the entire chain so I can avoid running the signal through an other preamp at the mixer input?

The goal is of course to give the best signal possible to the mixer, and I don't mind spending a bit more on better gear to achieve that. Now if my current setup is a high enough quality, and to increase it we're talking about significant spending for marginal gains, then I'm happy to keep it that way and not think about it further.

Thanks!

I'm hoping to start working as a sound mixer/recordist on student film sets soon, and I was wondering, what is one big/random problem or issue that you've faced as a sound person on set? Either a common reoccurring issue or a one-time freak accident. How did you solve the problem, and what do you do now to make sure that the issue never happens again or repeats itself?

I figured it would be fun and a good learning opportunity to hear about random issues that more experienced sound people have come across, how they solved the issue at the time, and how we all can learn from it now. Looking forward to hearing from you.

So I’m wondering, when I’m monitoring the audio during recordings, is there a way to hear how it’s going to sound when I’m recording? Like when I’m recording can I hear the output volume? I noticed when I was monitoring it, it sounded fine, but then when I put on the computer, it was quieter than I was hearing through the headphones.

https://youtu.be/zTTMN3xTKzw

Excuse me if this is the wrong sub; r/fieldrecording doesn't approve links and I think showing the sample will be helpful. 

The Zoom, when recording with its own microphone, never makes this sound (however, I got it specifically to plug external microphones into). There are two DJI Mic 3 transmitters wirelessly connected with their receiver, which is plugged into the Zoom's 3.5 mm input. The internal recordings of the transmitters of the same session have no buzz; it's only on the Zoom.

I wear the microphones on my clothes and walk outside. I start in my room, go on a quiet street, then a busier street, but the sound is there in all scenarios. 

Auto-gain vs. manual, and battery vs. power supply; on all these modes the buzz is still there. The only thing is it seems to happen more at the beginning of a long take than throughout it (but it still happens in small amounts throughout), and it is usually panned more towards the left-ear (which is Transmitter #1's sound), although in rare occurrences it swishes towards the right ear.

I will be grateful for responses.

By the way, would you recommend any other gear instead of the Zoom H1n, for what I want to do? It is to have a backup in case my DJI Transmitter internal recordings don't work, but I found I really liked the sound of the Zoom too, and if this buzzing sound didn't happen I would want to use the Zoom's recording. 

Hello i’m looking for a second hand recorder to buy.
Im a production sound mixer in France (8 years experience) for ENG, Tv, doc and i always used to rent equipment or use the Tv stations equipment.
Now, the industry changed a bit and so i want to have my own gear.
I have own mostly everything (mkh50, 4 Lectro SSM and two Src, Sanken etc..).
I’ve already have a Mixpre 6 but i don’t like the ergonomy (too small, hard XLR connectors)…

In TV and docs, i always use the 633. It’s a tank. I know where are the knobs without looking at it .
I know the 633 by heart.
I also use the Mixpre 10 for short films and doc too.

I love the Mixpre 10, i think the preamps have more headroom and you have 8 preamps instead of 3 but i also love the tank building and physical knobs and switch of the 633.

The 633 is also older but i see second hand in France for 2000€ with bag and nearly the same price for the Mixpre 10II
Would it be a good deal for a 633 in 2026 or better for me to go on a Mixpre 10 II ?

BTS from a feature we shot last June/July here in Oregon. Panamic, Radius Rad, Schoeps Kmit, Wisycom MTP40 PHA48.

Hey yall,

I’m a new producer and I’m trying to source the best audio equipment possible for under $1,000 for a ultra low budget short film as I’m trying to not skimp on sound but our total budget is only $2,000 and we still need to get crafty, submit to film festivals and compensate the team a little bit. So I’m trying to understand what are my best options for a good all around shotgun mic for dialogue and basketball dribbling noise and shoe squeaking sound etc, and then an audio recorder/mixer, boom pole, and monitoring headphones (and maybe a bag to hold the audio recorder?) I can stretch the $1,000 slightly with my own money but I want to try to stay under if possible. Thanks guys.

hi! i'm struggling in finding some adapters to use my lavaliers lemo 3 pin terminated on shure ad1 transmitters. i'm looking for something cheap or even DIY if the quality is good. i looked also on aliexpress but the algorithm gives me useless results. a cable adapter is fine but one without the cable is fine also if it's not too big. oh and i'd like to know if anyone changed the ta4 connector on ad1, if it's doable without service i'd consider this option too

thank you for any hint and help!

I'm a long-term solo videographer who shoots mainly corporate client work.

While I don't consider my audio to be bad, I do feel it's something I have paid the least attention to learning fully. I want to get better at this part of my work. Mainly the process and standards recognised in the industry. I feel I have high standards for myself, I hide lapels and work audio levels manually to the best of my current ability.

Are there any gold standard educational channels/sites that delve into the audio world. I currently catch some content by Curtis Judd and Sound Speeds. While a lot of it is over my head. I really enjoy watching their stuff, adding new skills to my bow and improving in this area.

For context I have Deity wireless packs, boom mic, Zoom F4 audio recorder with a bag etc.

I record a bunch of audio direct to camera and only really use the Zoom when shooting multiple interviews at the same spot and booming. But I do also mostly link my camera to the sub out anyway when doing so.

Any guidance, links etc is appreciated.

I bought the 11' ktek indie composite internally cabled boom pole, it's my first internally cabled boom pole. I live in a small town in bc, Canada and there's nowhere to buy this piece of kit so I have to order online. First, what is a good size for a coiled cable to go from boom to bag? Is 18" coiled a good size?

Second, any recs that ship within Canada?

Hey everyone,

I’m putting together an onboard audio/video streaming setup for a racing yacht. We're talking sustained 25–40+ knot winds, green water over the deck, and constant salt spray.

Here is what I am trying to solve:
**The environment:*\* Minimal to Zero crew attention mid-race. No one is swapping batteries every few hours or fixing loose connectors in 35 knots. It has to run continuously.

**The destination:*\* We're feeding into a Blackmagic ATEM 1 M/E Constellation HD. Its audio inputs are strict 1/4" TRS balanced line-level. We also have a SWIT 3G-SDI audio embedder mounted near the helm. It can multiplex analog audio straight into an existing camera SDI run back to our Blackmagic ATEM switcher below deck.

**The snag hazard:*\* Traditional shotgun mics in full furry blimps are way too big for our helm station—spinnaker sheets and crew will rip them right off. I need a very low-profile, weather-resistant setup.

**What I'm leaning toward:*\*
Using miniature waterproof mics (like a DPA 4061 Core+ or similar IP57/IP58 capsules) tucked under the edge of our helm camera housing or instrument pod, protected by a small furry windbubble, and running a thin Kevlar cable down below deck to a field preamp before hitting the switcher.

**My questions for you guys:*\*

1. For harsh marine/salt environments, do omni miniature mics like the DPA hold up better than small-diaphragm condensers if they get blasted with spray?
2. How do you guys effectively wind-protect tiny lav/boundary mics in 40-knot apparent wind without massive blimps?
3. If any of you have done marine or boat field recording, what connectors or waterproofing tricks do you swear by to stop salt water from turning XLR/MicroDot connections into green powder after 24 hours?

Appreciate any advice or sanity checks!

Okay, so what am I supposed to download so I cam use SD-Remote now?

Hi there, I manage an equipment library and we have great cameras and a TON of old microphones. I'm looking for your recommendations for top 5-10 microphones you think should be in our library. I'm in Oregon, USA, and our target is low budget doc work or low budget storytelling with small crews.

My meat and potatoes stuff is RODE wireless kits and Sennheiser boom mics (600, etc.) but would love to know what you think are great mics, either camera mounted, lapel mics, boom mounted. Anything goes up to say $1000 per piece, I just want enough options to last 10-20 years.

Many thanks for any input.

Coming from Wisycom Manager, I have to say that the Soundbase hardware integration with the MRK16 is fantastic.

While I haven't figured out yet how to use one of the MCR54s as a scanner, performing a complex coordination over 4 receivers with their own 32Mhz filter width for 16 channels was surprisingly easy.

Pushed the coordinated frequencies to each receiver equally so. The receivers also stay linked to Soundbase so updating receiver channels with reassigned frequencies is pretty seamless.

Next, have to work on the most efficient way to get the frequencies into the TXs. So far, count me impressed!

Last week I was in a student shoot, production budget was limited and I was only able to rent a couple of Sanken COS-11 with no additional accessory, apart from belts. That means that I had to equip actors with the standard RM-11 cover that came with the mics.

For most of the scenes and actors it was completely fine. It wasn't perfect but I had a lot of usable takes, and some that would need a bit of cleaning but still good enough. Between that and the boom and the different coverages, I was happy.

The problem was for one specific scene, and only this one. The actress wore a hotel receptionist costume, with a long sleeved shirt and a waistcoat. And for the life of me I couldn't get it to sound good. Not even usable. We tried different positions, between the shirt and the coat, under the shirt, everything. Under the shirt againt the skin was the best, but any movement at all would sound like the mic itself was being rubbed on. The actress kept saying that the mic wasn't moving, and each time I checked it was still in the same position.

My guess on set was that it was the ruffling between the two layers of clothes that made the sound. It looked like brand new, synthetic, a bit stiff, clothes, and so there wouldn't be anything we could do at the moment.

Thinking back about it, could I have done a better job with no additional gear? Is there a way to use the RM-11 cover so it sounds good under clothes? I had very good results on thick coats and outdoor clothes, but everytime it's on the skin I feel like it's just different levels of bad. Should I push production for an increase in budget for stuff like fur covers or windbubbles next time?

Considering getting the Soundcart Ninja. I looked at other carts, but I don't own a car, and most productions just reimburse me for rideshare to and from set, so I need something compact. I wanted to know if anyone here has experience with it.

I've considered Zuca's closing sale but I also am not very mechanically skilled and don't have a lot of space/ability to do any modifications the way I see some awesome Zuca setups are. I also considered the Milwaukee packout but I'm not a fan of the look compared to actual carts.

Thanks in advance for any helpful comments.

(Disclaimer, this is for a workplace, not my personal use lol)

Yes my friends, that's two 888s and two SL-2s. The Shure dual receivers came last week, as did the transmitters and DPA lav mics. Oh and several batteries not shown.

Got enough tested out on the one set up to get a wireless channel working and routed.

Nobody in my IRL is going to know or care about this but just wanted to share in some way.

Cool story bro.

Hello all,

I’m looking to get into location sound recording having done it for many films at university and now finally with some savings, I’m looking to get a kit list together so I can start taking jobs on low budget films etc.

I tried to the best of my ability to cover all the bases in this list and was hoping for some advice on these options.

I know the Zoom F8n pro takes up a lot of the budget but I feel it’ll last me a long time and be a good investment plus the free bag and the price seems like a great deal.

Currently I’m also a little stuck on the best choices for Lav mics at this price point, the Rode Lavalier IIs to me seem a little hard to conceal a get sound good hidden under clothing compared to the deity but they offer better compatibility as I am not sure the Deity’s 3.5mm TRS lock into the Rode Go 3s so I’m a little worried the connection won’t be as reliable.

Any feedback is appreciated I’d would love to hear from anyone with experience with this kit or if you have any better recommendations the budget overall is £1,500 - £1,700 Thank you!

Hi there,

I've been a videographer for years and am getting more seriously into the audio side of the equation. I own a Zoom F4 and am looking at options to have it powered in the bag on top of the onboard batteries. Everyone points to the TalentCell as the standard however it is not available to purchase in Australia.

I'm looking at options and came across this power bank and I'm getting mixed information. I understand that I'll need a usb to Hirose adapter however, will this power bank provide enough juice to power the Zoom directly or will I need the 5v to 12v power boost cable?

Powerbank I am looking at

INIU Laptop Power Bank, Compact 25000mAh 100W Fast Charging Battery Pack | Fast Charging, Flight-Safe, Travel Essential, Portable Charger for MacBook Pro Dell Steam Deck iPhone iPad etc, Classic Size: Portable Power Banks: Amazon.com.au

The Hirose cable I would likely get

Alvin's Cables PD USB C Type-C to Hirose 4 Pin Male Power Cable for Zoom F4 F8 F8N Audio Recorder, Sound Devices 688 644 633 60CM|23.6 inches : Amazon.com.au: Electronics

But they also sell this option...

Alvin's Cables 5V to 12V Hirose-4-pin USB-Boost Power-Cable for Sound-Devices 688 633|Zoom F4 F8| Zaxcom : Amazon.com.au: Electronics

Any guidance would be appreciated

EDIT: I contacted the cable maker, and they specifically said the cable was made to convert 5v to 12v. So I picked up both the cable and the power bank. I will update post when I find out if it works. At worst, I've got a new powerbank.

UPDATE EDIT: I received the cable and the power bank in the mail today and the power bank is DOA, so sending that back for a replacement. I decided to try and power the Zoom F4 with my usual phone powerbank with the Alvin's cable and it works just fine. So, despite the faulty battery pack, I was able to get proof of concept with my less powerful battery pack able to supply power to the recorder.

Hey everyone, I’m looking to sanity-check my gain staging workflow for Sennheiser ME II lavs into RØDE Wireless PRO transmitters, outputting via a 3.5mm-to-dual-XLR breakout cable into a Zoom F8n Pro. For normal dialogue, my current setup sits at:
TX Gain: +16 dB to +18 dB (GainAssist off)
RX Output: Manual mode at 0 dB
F8n Pro Inputs: Set to Line level with Trim at around +30 dB (averaging -20 dB to -12 dB on the meters)
My goal is to keep the hand-off clean while making the most of the F8n Pro's 32-bit float preamps without raising the noise floor or clipping the wireless link. Are you guys running these receivers into Mic or Line mode on your recorders? Looking for tips and to see how others utilize this system with their field recorders.

Last week, I recorded sound for my first indie film. I’ve been a studio producer/engineer for years, but never worked in film before, and I’m hooked - I want to do more. So, I’m looking into building my own kit so I can begin pitching my services to other indie filmmakers.

The kit I used was all borrowed from the film’s producers (super low-budget, DIY), featuring a MKE 600 boom, four Rode Wireless Pro lavs, a Zoom F3 as the main mobile recorder, and a Zoom H6 secondary recorder. This configuration imposed some logistical challenges (mainly that I couldn’t monitor the lavs and boom concurrently, as the F3’s limited input count required me to run the lavs from the H6), so the kit I’m thinking to build would utilize the following system:

Boom: Sennheiser MKH 416 w/ 3m extendable pole, Phenyx Pro transmitter for wireless connection to recording station Lavs: Phenyx Pro PTU 6000-8H lavalier system and receiver (8 mic kits operating wirelessly via UHF connection for longer distance and less interference) Interface: Behringer XR 18, rack-mounted and hard patched with lavs and boom wireless receiver Main recorder: MacBook Air M5 Pro, connected via thunderbolt to the interface, running Pro Tools Ultimate Aux/mobile recorder: Zoom F3 or F6 Monitoring: wireless headphones Transport control: some cheap wireless MIDI that I can macro to start recording remotely Power: two big camping batteries, swap and charge when one goes low

The idea behind this setup is that I could have the main wireless rig in a gator case, set it up as a station near the recording area, and then run the boom while operating transport for the whole system remotely. My main questions are:

1. I know this is probably total overkill, but I want the flexibility to expand if needed and the ability to monitor all the mics simultaneously while operating the boom. Is this so much overkill as to be wasteful?
2. Is there anything I’m overlooking or any better gear/options I should be considering?
3. How much would an engineer running this type of system typically charge for their services?
4. Should I add any other mic options from the get, e.g., a stereo ambient mic?
5. Any workflow challenges I should be considering?
6. I haven’t used the 416 so I don’t have a context for how much better it is than the 600. The hyper cardioid pattern seems to be a strict upgrade just from my experience running the boom last week, is it worth the extra $700?

This is not the first time it happened to me but the last time was quite some time ago. At the end of the morning on a close shot we've experienced interference on a lav mic due to the cinetape. We thought it was a mobile first but it became evident it was the cinetape because the camera panned in on the actor and the interference was there only when the camera was facing. The noise is a regular ticking, were not sure it's made acoustically or through RF. We're going to switch lav in the afternoon and see if the other one is better.

Any help or advice is appreciated!

Hey everyone! Sorry if this question is redundant.

I am filming hunters in CO this week. Temps will be low and thick clothing will be worn. BUT... Very important. The articles of clothing while hunting change often with activity level. Sitting still, all the thick stuff. Hiking up a ridge, some articles come off and get stored. Sitting around the camp maybe just the base layer.

And, I'm one man band filmer, 8+ hours of potential capture, need to shoot and move and just place a mic and leave it for the day, the mic needs to be solid and permanent for the day. No re-application slowing down the actual hunt.

My question is, thick clothing creates rustle yes, but many tools can fix that somewhat easily. How can you avoid the voice from becoming too muffled? Any placement tips or previous experience? Thats a challenge that I cant fix as easily personally. Thanks!

Hey all, I’m a Local 600 AC who is getting into making cables to use on camera. A local sound recordist was checking them out and was interested in getting some custom tc cables made for himself. He uses the Deity system so I’m trying to locate the components that would work with that system. I can easily locate the FSG.0B.305 connectors for cameras that require 5 pin but I’m having trouble locating a right angle locking trs connector. Does anyone have a lead or source they get these types of connectors from. Thanks!

I purchased a new Ktek 144CC pole from B&H and the top knuckle spins off the collar but doesn’t let the top section slide out. All other sections move fine. So I sent it back.
Replacement came and SAME issue. It’s def not the same pole cause I made a tiny mark on it with a tool trying to open the first one.

Is there a bad batch?

Attaching photo of the max length I can extend it to. Always start with the top section but that’s not possible

I have 2 traveler’s, and 110 and a 89. Never had this issue before. I can return again but super annoying cause I’d like to have the extra reach for the show I’m on right now.

Anyone have any experience with this?