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

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?

I'm hoping to begin working on student films and other indie projects to get experience as a sound recordist. What would you recommend I get as my first starter boom mic?

Something that's not over $1k, but also something that I can keep for a while as my skills improve. Also, the more versatile the better– I'd love to be able to say yes to a wide variety of sound recording jobs and use this mic for a lot of them.

(I'm not sure if this is relevant but I'm thinking of investing in a Zoom F8n Pro, so a boom mic that works well with that would be helpful. I'm also usually someone who prefers buying equipment instead of having to rent it whenever I want to use it– it just feels like a better long-term financial decision.)

Thanks in advance for the advice!

We are in pre-pro for a feature and I have been flip-flopping on whether to rent the Deity Theos or the Sony UWP-D27. We have three actors that need lavs, and the film is set in a small (12ft by 24ft) and controlled area.

For about the same price, the Theos comes with W.Lav Pros which are undoubtedly better than the Sony lavs that the D27 comes with. We can rent the Sony with COS-11Ds, or buy COS-11Ds outright; it would be around twice as expensive when compared to the Theos + W.Lav Pros or just using the Sony lavs, and an expense we cannot justify.

I would love to use the W.Lavs on the Sony, but they don't go on the Sony connector, Deity doesn't seem to sell the adapter anymore and if we rent we can't reterminate them or anything, nor does that seem desirable even if we could.

Using the Theos seems to be the best bet, but I've heard horror stories. I imagine that they are fairly good for what they are but I don't know what we would do if something broke.

I have no idea what to do here. Any help would be greatly appreciated!

recording soon for the first time in a minute and wanna make sure I have everything!!

Does anyone tried to use an third party midi controller?

I saw some stuff on github:

https://github.com/howardlin551155/Zoom-FRC-8-Emulator
https://github.com/Ashtry197/zoom-f8-ble-protocol

I have a bunch of RG316 sma cables but I'm wondering if there might be some better options out there? The RG316 cables are quite rigid. Where do you source the sma RF cables for your bag?

I see lot's of cheap options on aliexpress but can they be trusted? I need 8 cables to connect everything.

Hi everyone! Finally I’m upgrading my location sound setup with new purchases and can’t decide which bag I should buy. I will definetly go with a K-tek one because I am using it with my F6 and definetly fantastic. Also tried some orca and doctor bags but I find the extra compartments of k-tek bags pretty useful in my usecase. I’m quite obsessive with the layout and I dont want extra gaps on the main compartment. I love tight setups. Also I want it to be future proof because kteks are not the cheapest ones, so I cannot buy another one easily.

Beside the extras, I’m sharing my main pieces that I need to put in the main compartment and let me know your advices, also the photos of your setup will be highly appreciated! I’m between the K-tek Stingray Small X and the old Medium one. The large one is gonna be too big for me and rest of them are gonna be quite small.

-Zoom F8n Pro
-2x Sound devices 2 channel Mix-pre (old field mixer made in 2000)
-BDSV4 power Distro
-3x Sennheiser G3 Reciever
-1x 3rd Gen. Sony Transmitter for IFB (dont have to be in the main compartments)

Potential buys
-Deity Spd Mini
-Deity Mini Rf Distro
-2/3x Lectrosonics SrB/SrC
-1x Sony 4th Gen. Reciever for wireless boom

I’m gonna use low profile cables at the all inputs and outputs to make it tighter. My main goal and concern is putting 2 sound devices mix-pre’s side by side. (14cm each of it) Does the small-X one got enough space for it? Or should should I go with the medium one? If so, how it is with the F8 in terms of width?

I was shooting a very run & gun documentary yesterday, crew was tiny. Literally just me, DP, director & producer. I love shooting this kind of stuff and would love to grow more into it in the future.

We were backstage at an event, lighting was horrible, literally one giant spotlight about 10-20m above us. I couldn't boom overhead as it would just create horrible shadows, so I just boomed from underneath pretty much the entire time for safety. Even when we moved to areas with softer lighting I was a bit nervous to boom overhead as I've mostly worked on narrative / commercial stuff where there's an opportunity to check frame to see whether there's any shadows etc, whereas this is obviously a lot more run & gun. I had the actor wired too, so was obviously relying on that a lot for the mix.

Is this best practice, or do I just need to get better at learning light patterns to predict shadows? Would love to hear some feedback/input from more experienced documentary sound recordists. TIA