Originally Posted by Karl Lohninger (Post 1171465)

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.

Originally Posted by Dan Ostroff (Post 1171581)

Karl - thank you for sharing your wisdom and experience. A lot to ponder indeed, definitely the reason I wanted to post on the board. My original thinking with the mics was to purchase quality but your are right on with your point with the wireless. They are a must have and buying more expensive mics without having the budget to get quality wireless doesn't do me much good.

Mark mentioned the Lectro 100 series, you recommended the 200 or 400 series. Any specific reasoning on that? Admittedly, I've got to do my homework on the Lectros and wireless in general.

The kind of film/tv projects are definitely smaller than that may sound, although I wouldn't be opposed to the larger projects, that's a long way off. Trying to do my best to put together a solid package of gear (that I wouldn't feel the urge to upgrade too quickly) and learn as much as possible. Most of what I put together on the list is gear that I would have liked to have had on previous work. No need for a second garage (at least not for sound equip) but would be fun to think about filling it up.

Back to tinkering with the list... Thanks again!

Originally Posted by Mark Boyer (Post 1171713)

Before upgrading to the Lectrosonics I used Sennheiser G2 units. The mics supplied with them were just ok, and I ended up buying better mics for the Sennheisers. Also the Lectrosonic 100 series is 50mw vs the Sennheisers 35mw power.


I also have a Countryman B6 in my kit, excellent sound and water proof. It works well for hiding but I find it gets lost under clothing. The Trams come with a complete mounting setup kit and I prefer it for mounting to the talents shirt or coat.

The higher end Lectrosonics are deep pocket cash units, you will see them on any big budget movie set.

Originally Posted by Karl Lohninger (Post 1171721)

The B6 is good to have but almost a specialty mic. Start with Trams, they're quick and easy to mount. They're not really great, but they became a standard somehow and do their job.

Generally: you want to work professionally you use professional tools, voila.

Originally Posted by Rick Reineke (Post 1171742)

The AT 899 is a nice sounding mic, comes with a variety of mounts and a few bucks less than a Tram, though not as popular. IMO, it seems to hold up better than Trams'... cable gets pulled out of head and beyond repair.
I have not seen the new smaller AT-__ Lav, designed to compete with B6 I guess.

Originally Posted by Karl Lohninger (Post 1171776)

All lavs have deficiencies as far as I know. The TRAM is a standard because as I said it's quick and easy to mount - that's actually important - and it's a know quantity (quality) used pretty much everywhere. So you'll fit in. I have a few B6 and they really come in handy when there's no place to hide (Malibu beach movies i.e. not kidding) but they're a bit fragile and they don't like wind at all. As I said, specialty items if nothing else works. Sankens are fine and DPA's are fine - there's the AKG ck77 I think is awsome and so on. But really you shouldn't worry, got with the trams - other stuff comes later.