Sound Gear

Sound Recording Gear for Film Production

Let’s collaborate to determine a suitable equipment package for your production that meets the specific needs and requirements of its unique content.

Multitrack Field Mixer/Recorders

The backbone of any site sound kit is the field mixer/recorder, which enables multiple inputs and output buses, multitrack recording, and timecode capabilities. It is the production’s workhorse. possibilities ranging from compact, lightweight bags to bigger, cart-based, high channel count field recorders.

By providing you all of your mix settings at your fingertips, adding a control surface to your field mixers allows you to create higher-quality mixes and truly expands their mixing capabilities. For live stream productions, broadcast television, narrative films, or any other kind of production where mobility is less of an issue, it is unquestionably a necessary tool.

You want the mix to sound as excellent as possible when producing a high-quality mix, whether it’s for dailies, as a camera backup, to expedite post-production workflows, or while broadcasting live on television. Unfortunately, many videos on the internet lack the benefit of professional audio post-production. To produce better-sounding mixes that are ready to use on location in these situations, tools like EQ, compression, and auto-mixing are useful.

In order to save time and money in post-production, timecode sync devices are a crucial component of contemporary video production workflows. Each timecode kit comes with mounting attachments, wiring for the majority of cameras, an RF master clock, and RF jammed sync boxes for every camera that give timecode and genlock.

An easy approach to guarantee audio synchronization with any camera—even ones that don’t use timecode—is to use Smart Slates. When a timecode display is flashed to the camera, a visual LTC indicator is burned into the video, and the aural slate clap will properly match the visual slate.

A well-positioned high-end boom microphone is the best option for capturing detail and quality in recorded dialogue. Every kind of microphone, whether shotguns or tiny diaphragm condensers, performs exceptionally well in various settings and shooting situations. You can record the highest quality audio in any situation by having a variety of microphone selections.

Wireless Lavaliers / Talent Mic Kits

Wireless lavaliere are useful in situations where boom microphone placement isn’t always possible. High-end wireless combined with the greatest sounding lavaliers available allows us to capture terrific quality audio even with unpredictable dialogue, challenging talent actions, or camera angles.

For producers, directors, and clients, being able to listen in and clearly hear what is being recorded and track performances can be a great advantage. Additionally, in order to converse and hear time cues, reporters for live TV usually need to be able to hear a mix-minus feed from the TV studio.

Wireless camera hops are essential for shoots that call for any kind of camera movement so that the editor can feed a mix to the camera without any cables attached to the camera. This can be a highly powerful combination for a fast-paced “run & gun” shot when combined with a timecode box. For ENG broadcast news shots, when you have to stay mobile while delivering broadcast-quality audio to a camera, this is also a crucial tool.

The sound cart must be hidden far from the set for many shootings, and the talent must be farther away than the range whip antennas can reach. High gain active LPDA antennas are useful in this situation. Under difficult conditions, they can deliver outstanding radio frequency dependability, and you can use antenna cable runs to remotely position the antennas away from the wireless. A single pair of diversity antennas can be shared by all of the receivers thanks to RF distribution. It is strongly advised to utilize RF distros to provide further isolation between receivers as the number of wireless channels rises (over four channels) in order to keep them from interfering with one another in close proximity.

Whether for RF coordination, audio playback, recording (including overdubs), or media management, computers can be a crucial tool on set. Getting all the channels to work well together requires coordination, and the more channels there are, the more difficult this task gets. Operating without any issues is ensured by the ability to do a wireless spectrum scan and use specialized software to identify the most arraignment compatible channels.

A Follow cart makes it much easier to work efficiently and nimbly once on location by providing a movable workstation from which we can operate wherever we are. It is equipped to capture great production sound and is designed to handle almost anything.

MiniCart#1
Interview on the Roof
Firing up all 12 Channels + 2 Coms-IFBs! Couldn’t have done it without Wireless Designer. #sound
DPA 4018c

Equipment List

  • Sound Devices 688 Multi-Track Mixer/Recorder
  • Sound Devices 633 Multi-Track Mixer/Recorder
  • Sound Devices MixPre ii
  • CL 12 Control Surface 
  • 2x Lectrosonics Venue 1 
  • 12x Lectrosonics VRT Modules Recievers
  • 4x Lectrosonics 411a Recievers 
  • 2x Lectrosonics HM Plug-On Transmitter
  • 8x Lectrosonic SMQV Body Pack Transmitter
  • 2x Lectrosonic SMV Body Pack Transmitter 
  • Lectrosonic LT A1 Body Pack Transmitter
  • 2x Wisycom LMB Powered Sharkfin Antenna
  • Audio-Technica 3000 Series IEM Transmitter
  • 2x Audio-Technica ATW-R3205 IEM Receiver 
  • 2x DPA 4017c Shotgun Microphone
  • 2x DPA 4018c Shotgun Microphone
  • Senhiesser MKH 50 Microphone
  • Nuimann 82i Ultra Long Shotgun Microphone
  • DPA B-Capsule 
  • 6x DPA 6060 Lavalier Microphone
  • 6x Sanken Cos11D
  • 2x K-Tek Boom Pole 12 & 20ft
  • VDB Boom Pole 16ft
  • Deneke Timecode Slate
  • 3x JB1 Sync Boxes
  • Comtek Base Station & Mini Base Station 
  • 15x Comtek Recievers w/headphones
  • Misc. Cables & Accesories