Opinions/Recommendations on Audio Kit & Intro
 

Hello everyone:

I've been reading posts on these boards for quite a while, so helpful. Thanks for everyone that has taken the time to lend their knowledge!

I've been researching for quite sometime and am close to taking the plunge with an audio kit. I was hoping to get some opinions and recommendations on the kit please?

I initially was going to try and budget for the Schoeps CMC641 but given the possibility to add the Cut-1 (I know some say not necessary) and that destroying the budget (eliminating the budget available to purchase wireless lavs), I decided to go with the Sennheiser MKH50 for indoor dialogue.

Sound Devices 302
Sennheiser MKH60
Sennheiser MKH50
Tascam HD-P2
Petrol Audio Bag (Eargonizer, large)
Rycote Windsheild Kit
Cables (breakaway, XLR, etc)
Gitzo 3650 Carbon Fiber Boompole - up 12'

Lavs - Tram50s (2)
Wireless - waiting for the Sennheiser G3 (September?)

Any thoughts or alternate recommendations would be greatly appreciated!!!

Regards,
Dan

Dan,

I'm sure others will chime in with alternate recommendations. Everybody has their favorites, but I think with the kit you have chosen, you can make some great audio. Congrats on stepping up and choosing gear that will last.

I prefer the K-Tek graphite boom pole, it is light and smoother with a internal coiled cord.

Also buy the Lectrosonics 100 series wireless system, you can use the Trams on the wireless system and with the TR-79 Power Supply you can plug into a xlr cord, now you will have a dual use mic. The Sennheiser is a good system but you will need to buy and wire seperate set of mics for it.

not all K-tek graphite poles have internal cabling. Mine, for example.

Regards,


Ty Ford

Thanks Rob - I'm excited to get going!

Mark - Thanks for the response and feedback. It's looking like I have about $1800 or so to spend on lavs and wireless. I'm afraid Lectrosonics might be out of my price range.

I seemed to skimp most on the boompole (was initially thinking about a K-Tek carbon fiber pole, but that would've run another $400-$500) and the wireless (trying to get decent lavs and wireless but can't go for top of the line).

What kind of shoots are you shooting for? That makes all the difference.

Some sit down interviews, doc's, and film/tv.

Thanks in advance for your feedback Karl.

Lectrosonics LMA Kit LEC105 Price: $1,114.00

Lectrosonics LMA Kit

Subtract the $300 for the wireless lav mic upgrade you will need with the Sennheiser units (unless you plan on using the poor performing one Sennheiser includes) and you are only a couple hundred dollars higher than the Sennheiser unit.

You might want to look at the Edirol R-44 that is sold with modifications by the Oade Brothers. Ordering for Oade Brothers Audio: Edirol R44 Super MOD- Ground Shipping

I have the stock R-44 and it performs well. The modified version is supposed to be a lot quieter. Had I known about it I probably would have sprung for the modifications.

A single 16-GB card can record up to 10 hours of 4-channel audio at 48 khz sample rate.

Thank you Mark! The Lectrosonics kit includes the receiver and transmitter, wouldn't it still need a lav? Maybe I'm misunderstanding.

Thanks for the heads-up Dean!

I have been struggling on the digital recorder. The Tascam's inability to house more than 8GB at a time makes me a bit hestiant. Do you have any experience in the sound quality between the R-44 and HD-P2?

I would most likely be going from the SD 302, sending line level to those recorders. Would the higher quality SD preamps eliminate the need to get a mod version from Oade?

You would use the Trams as a lav into the Lectrosonics then when you need to plug them into the XLR cord you use the adapter. I use the same set up, I carry 3 Trams and use them for my Lectrosonics and also when I use xlr mic cords as well. I bought all of my audio gear as new or used from various reputable ebay sellers and saved a ton of $$.

I have two block 25 Lectrosonics wireless sets, one butt plug, 3 Tram mics set up for the Lectrosonics and 2 XLR adapter transformers for using a mic cord instead of the wireless setup.

Here is a link for the transformer: http://www.trewaudio.com/store/produ...post&p=1171459

8gb or 16gb don't make a difference. when in your life would you need to record 16 gb in one piece. Didn't happen to me yet. Your selections are generally solid though I would try to get second hand whatever possible and definitely step up to a lectro system, a 200 or a 400 series.
I'm sure you'd be able to save money replacing the MKH60 with a 416 (save even more with a 415T) - these are workhorses that work!

You say: Some sit down interviews, doc's, and film/tv.

Now that covers a lot and me thinks you're overstretching a bit especially with film/tv...for that you need substantially more equipment. Why not concentrate first on 'interviews' and 'doc's'.

For this you do not need (or even want) the full rycote basket. Save here and go for one of those furry's. The MKH50 is a great microphone - no question. But it's a bit on the expensive side when you're starting out. I'd say 2 wireless systems is minimum nowadays, that means 2 Lectros. Please forget the Sennheiser evolutions thingies if you want to work professionally. Again, especially when starting to build a package go 'second hand' - that's a no-brainer.
Replace the mkh50 with a (used) AKG 460/480 with a ck63 capsule. You'd get easily two of those for a mkh50. Buy your mkh50 after you'r having your basics covered. You're not there yet ;-)
More often than not production wants you to send audio wirelessly......that does mean in the very near future you're going to need 4 systems.....sad but true. Not thinking now about film work (that really is a different thing altogether) think of your recorder strictly as back-up recorder. Think of a) something small that you can schlepp around and b)just something so you can say 'yes' to a producer asking for one. That covers you. Again, good wireless systems are more important for you.

Thinking film you're going to need more than 2 tracks - if it makes sense or not, producers are going to ask for 4 or more. Plus you need to be able to deal with all timecode issues. Your Tascam HD-P2 is a fine machine alright but with some shortcomings. You'd need an additional TC generator for once + 2track limitation. For film work you'd need a smart slate plus something called experience which isn't there yet. Get that first, then move on/up. Then you get a Sound Devices machine and more microphones and more wireless systems and a bigger mixer and Comteks (lots) and video monitors (HD) and playback equipment and sound carts, a wireless boom w/ a wireless private line to your boom operator and boxes and boxes and a bigger car and a second garage to store all your stuff + you gotta find ways to get into the union too.

Thanks for that Mark, much appreciated. The used route would definitely save money. Will do some more digging.