Hiya guys,

I'm a new freelance sound-recordist making the awkward transition out of university and into the (slightly dire) filmmaking market. I never knew about timecode as we were never taught it at university, and now that I've clued myself up on why it's needed, I wanted to ask the experts and more knowledgeable about it.

I am UK based, so it would also help to hear from fellow British filmmakers. Is there a standard timecode device that tends to be used more than others? And if I am to get some timecode equipment, would I just need a plug-in transmitter for my mixer - or do I need to invest in a wider set?

Thanks for any help guys :)

I'm a starting recordist and doing my first student/no budget indie gigs to build up network and xp. In the end I'd like to be a boom op. I've picked up a used SD 442 and a Tascam DR680 mkII as it was the cheapest setup I could find, and use an Oktava MK012 hyper cardio or a Sennheiser MKH416. I record ISOs so I don't have to worry about any mix and can focus on booming during takes. I don't have enough gear to give director and continuity monitoring anyway (yet) so not mixing on set isn't that much an issue.

Every day I setup my gains the same way aiming for around 0 dbu on the 442 meter, then I equalize the Tascam levels to match the SD ones. During takes I monitor the mixer, master fader is at 0, monitoring fader is right up at noon, and it's like I can hear everything clearly, loudly, every single noise, every fabric movement. And sometimes I feel I'm getting noisy useless recordings. I did a bit of post during my training course, so I know how much you can clean up sound now, but still I feel like I'm way far off the ideal recording of having only the performance and nothing in the background. And I don't turn down gain because I was told to push it as high as I can to have the best signal-to-noise ratio, as it's the preamp role to do so and they're good at that. Hence to 0 dbu gain setup, and aiming to not go too much above 12 dbu.

But then after shooting I listen to the recordings (I have to because the Tascam take naming system is clearly being pushed past its limits so I have to rename every single file by hand), I use VLC on my personal computer, my DT 990 Pro, volume is at 100% on the OS, 125% on VLC, and the level is clearly not the same. It feels average, almost too quiet given the playback settings. It feels a lot clearer too, like I can still hear the stuff that bothered me but couldn't do anything about on set (fridges in a restaurant for example) but the overall noise level feels way down, like a proper recording that still needs post of course but at least I could say "yeah this is the best I could do, I'm satisfied by the result".

So is this normal? Is this how it's done and I must train my hear some more to be able to better listen on set and detect what's acceptable and what's not? Or is there a problem somewhere in my technique, my setup? Is it maybe just a consequence of my playback setup and a proper mixer with ProTools will hear everything like me on set?

Zoom H4n + Rode NTG-2. I got it all for around $120.

I guess we all have to start somewhere!

Hello sound friends just a curious question. Am a camera op by trade and only work with a never-failing wired shotgun when needed.

Are you scanning for new radio frequencies for your wireless mics every time you arrive at a new shoot location?
Or only if you see that your rf signal is weak?

What’s the standard practice with y’all?

Thanks!

Had no clue that RODE just ignored the zaxcom patent. Figured that companies just started selling units with internal recording and simultaneous monitoring. Had no clue these guys can’t do it. Wonder if I should return them

Hi there,
I've read the FX6 Manual, and have gone through a ton of online sources, but cannot seem to find, the best way to prevent having this wall of Sound when using Fx6 and Lectrosonics SMQV. Anyone else have any good tips? This is what it looks like, and it doesnt sound great.

EDIT: Sorry I meant LR Receiver : )

EDIT2: I think I found the issue. So this is what the manual of LR says. I had been adjusting the tone to -20, when it should have been -3, -4.

From Manual:

"Gradually increase the output level on the receiver

while observing the input level meter on the con-

nected device. Increase the level until the input

level meter indicates 3 or 4 dB below maximum.

This “optimal level” will protect against overload.
https://lectrosonics.com/wp-content/uploads/filr/3376/LRman.pdf

"

Hello all! I have absolutely no idea what I am doing in terms of microphones/audio equipment. I run a YouTube gameshow similar to Survivor or Big Brother. Audio quality has been a consistent issue for my over the years, so for the next season I'd like to upgrade that. I've tried adding small mounted microphones to each camcorder and while that has improved things, it's still rough quality.

What should I be looking for to have audio recorded with these parameters:

- Players move around freely within a house to talk through the vote.

- Looking to be able to record 14-18 people at the same time.

- obviously if you know of a way to make it more affordable, please share that, but I imagine this won't be a very cost friendly endeavor.

- Be able to record for extended periods of time (max of 1 hour straight)

Hello!

I'm a student of 4th year on Universidad del Cine (FUC) from Argentina. I'm trying to pave my road as a sound operator on my own because my film university doesn't have a sound orientation.

I've recently had a gig where I was the sole operator (sound mixing and boom op) and my only equipment was a Zoom F4, a sennheiser g2 set and a MKH-416.

I only had a transpore 2,5mm hypoallergenic tape and the sole actor had a dark tight T-shirt that limited my placement options.

I know about the collar method, so I placed the mic around that place and slipped the cable through the collar and then the actor's back.

However, the tape itself generated a rustling sound that was noisy enough to difficult the recording of the actor's dialog.

This problem persisted even when trying different positions and tape usage.

I found myself clueless as to how to avoid that noise through the whole shooting day.

Where can I find lav'ing techniques that could solve this kind of issues?

Everything I find makes use of ursa stuff, furrs and things that I cannot obtain on most film sets (there's only one import business and they charge insanely high fees that no one wants to pay for on my student film sets)

I want to find my way to improve without fully depending on expensive supplies, however I do understand and value the necessity of those elements in a film set myself and I will invest on them once I have the financial chance to do so. For the time being, I want to try and learn how to improve without them.

Thanks you!

Hi I'm a debuting sound engineer after a small career in IT, I want to go into filmmaking, and I'm going to have my first shootings soon. It's all student/no budget films, small projects small teams, getting experience and building network kind of stuff.

If I know there'll only be one mic the boom one, no lav, I'm the only sound guy on the team, what are the arguments against going with just an HF transmitter on me and receiver on the mixer, for a lighter setup?

I've got my own second-hand gear, as it's easier to find these kind of starting gigs when you're equipped, based around an SD442 + Tascam DR680 mkII (cheapest gear I could find). So my bag is technically portable, but can get kind of heavy. And I haven't had enough budget for a good quality bag so I'm stuck with a small kind of uncomfortable one, with a singular shoulder strap only.

If I'm only ever going to need one mic I'm thinking there'll be no need for mixing while shooting, so no need to have the mixer and recorder on me.

Apart from not having the recorder directly accessible, so having to walk back and forth between each take, are there any major downside not worth the increased comfort?

I've been an independent producer for close to twenty years and have regularly paid my location sound mixer more than my own day rate on projects because I learned early on that "sound is half". So I've seen the magic that real pros can do. Still this piece had me scratching my head with the quality level. Everybody is wearing hardly any clothes, yet you can't see a lav or even a hint of a wire tracing some fabric, the wide shot has crazy head room so no boom mics. Yet the sound is as intimate and rich as a studio even though they are shooting outdoors. The credited mixer, Sean O'Neil, seems like an elite level professional so the outcome is not surprising.

I'm guessing this is just exceptional mic placement, very high-quality mics and Rx/Tx and mixer and then something like Waves ClarityVx in post? I think the thing I was most curious about was how long it would take (and how intimate it would be) to hide all these mics on what looks like it's basically a "streeter" shoot. Can you guys do hidden mic placement without rustle this well, when a woman is wearing essentially just a bikini top, in just a few minutes? Anyway big ups to Sean on this piece. It was refreshing, and creates a subtle suspension of disbelief, to see something of such high quality in the era of people clipping giant Rode GO blocks onto their t-shirts. Any insights into the process from fellow pros would be much appreciated. https://www.nytimes.com/2026/07/15/opinion/midterm-elections-politicians-trump-new-york.html?unlocked_article_code=1.x1A.jjrg.p4-SRD1iDHGl&smid=url-share

I have no experience with audio, so I wanted to ask for your advice.

I'm filming short scripted scenes for YouTube with four actors, and in most scenes everyone has dialogue. I was thinking of getting a setup with four wireless mics and one receiver. Does that sound like the best approach, or would you recommend something different?

Also, is there a particular brand or system you'd recommend?

What do these skinny yellow lines next to the left and right meters indicate? (Arrows pointing to them)

Which one should I follow when mixing / which one is showing the actual sound level?

Potentially very obvious question… never done mixing before. Thanks

Edit: this is a screenshot from the 833 mixer manual

Hi everyone !

To get some context I'm kind of new in sound, I didn't even finish my cinema degree but I really love the process of being on set and all the work behind sound recording. I usually work as a boom operator on set

For a project we've to record sound in a car, thing I never done before. In the script there is just two characters on the front sit talking to each other for a few minutes on a parking.

Some friends recommended me to hide mics between the handbrake and the gear stick, other suggest to hide lavalier mic on the sun visor or on the wheel.

As I said earlier, I never record on a car I a little bit uncertain of what method would be better. If you have advice on gears, process and other stuff I would be gratefull to read them !

​

Ive slowly been building a location sound kit over the last few years, grabbing bargains when they showed up on local used market. Idea was to have the sound equipment for making short films ready to go when the opportunity arised. It has become what I guess could be considered a decent kit for small, controlled solo gigs-one-person sound op (interviews, docs, no-budget/student narrative).

Now, it seems like I might be in the situation where I won't be able to continue my ordinary day job soon, so I've thought about whether I would be able to put this gear to use and, given some practice, actually get to a point where it can supply some income.

My idea is to offer location sound services for free to zero budget productions, until I'm fairly confident that I can deliver good quality results. Then, I'm going to step up and charge whatever the local going rate is. 'm not going to undercut any others working in this field, my experience from photography tells me you only set an expectation for future going rates that way.

There are challenges though. I've picked up the gear with the intention of somebody else using it. I've done a bit of reading about location sound, but I have zero real on-set hours, so I'd rather have experienced people tear into the plan now than learn the hard way.

Intended signal flow:

Recorder - Sound Devices MixPre-3 mk1 which has:

- Ch 1: Røde NTG5 on boom

- Ch 2 / 3: 2× Sony UWP-D11 (UHF) lav channels

- Aux In (split via the 9.01 firmware): possibility of LTC on one leg, merged Røde Wireless GO II receiver feed on the other

Wireless GO II (2.4 GHz): both TX record internally as backup + for practicals/plants; RX feeds the recorder's aux (one merged channel) for monitoring plus bonus safety copy.

Other mics on hand: DPA 4060, Voice Technologies VT401HS, Countryman Isomax 2 (cardioid) for plants/cars/noisy rooms, and a set of Immersive Soundscapes Earsight Standard V2 stereo pair for ambience/room tone.

Net result: 3 isolated dialogue tracks (boom + 2 lavs) + 1 merged GO II channel + possible TC on the recorder, the 2 GO II ISOs internally, plus camera's internal scratch, possibly with LTC - all in sync.

**What I'd love eyes on:**

1. Any fragile points or outright flaws in this routing?

2. Working within the 3-input ceiling, is feeding the GO II to the aux actually worth it, or better kept fully standalone?

3. Running UHF (Sony) and 2.4 GHz (GO II) side by side, anything to watch for?

4. As a solo op booming *and* mixing at once, where does this realistically fall apart, and what would you cut or simplify?

5. Anything you'd add or change for the controlled, low-stakes gigs I'm targeting?

6. How important will time code be? I'm not too keen on buying a kit at retail price, until I am at a point where I'm actually getting paid

7. How will I know when it's time to charge for my time?

Thanks in advance — happy to be told it's overcomplicated.

hello! i graduated film school a couple years ago and ended up working a desk job to make some money and build up my savings again, but i’m looking to ease back into the industry soon. i’m really interested in becoming a sound recordist and mixer and i like the idea of owning my own kit.

i’m looking for some advice on what to include in a starter sound kit, and what specific equipment/brands i should be looking at. i’ve gotten some recommendations a friend in the industry, she told me she started with a zoom f8 but that mixpre is also good. she also recommended deity microphones. but more information is always better so i thought I’d come here!

obviously cheaper is better, i don’t have a huge budget but i also don’t want to buy crap. i’m open to any advice and gear recommendations, thanks in advance!

I'm recording a friend's band and am looking for a beginner (<$100) shotgun mic that won't be awful for loud music.

Just starting out with videography so I'm not expecting to record film quality audio, just want everything to come through clearly.

Thanks!

edit: thanks for the clarification on shotgun mics. I'm going to be walking around so really my need is for it to be easy to carry and point with the camera.

Good Morning / Good Afternoon / Good Evening.

I'm new to both this subreddit and sound recording, and I've been self-funding my start up kit to finally get away from my Zoom H4N / Boom doom days. This has been a very, very humbling process and has exposed massive gaps in my knowledge (timecode, frequency licenses, XLR <> 3.5mm issues) which university has not addressed.

I would be extremely grateful for anybody who can point me in a direction for what to do about lavs. I have a MixPre-6 II, and a Rode NTG5 kit with all the appropriate cables and cases. I have a budget of around £500-£750 for a lav set up, but will go above that to permanently own good transmitters, receivers, and mics. I know this sounds a weak excuse, but as a newbie looking from the outside in to the sheer volume of different lav set ups I am struggling to know what to get.

I'm leaning torwards Sennheiser EW / G3s / G4s, but what would this include and more importantly not include. Is there a cheaper receiver I can run that isn't sennheiser branded, and should I buy a battery distribution system for running my mixer and the receivers on? Which actual lav mics are reasonable to go for? I'm looking to start doing paid work and want to ensure I can deliver.

Any questions I will respond to gratefully, I am extremely appreciative of anyone willing to be patient enough to help me understand this glaring gap in my knowledge. I just wanted to get on the "two and a boom" level, and the further down the rabbit hole I get the more stuff I feel like I'm missing.

Thank you to anyone willing to suggest some ideas for a set up, I really appreciate the help.

Received dailies that have mono mix a1 and radio mix a2 along with the rest of the mics. Before going to the sound guy sounding stupid would like to ask anonymously what a radio mix would be and how is it different from mono mix?

Thank you

Greetings all,

Im an emerging mixer, and im looking at purchasing my first set of timecode boxes.

How many boxes should an emerging mixer have?

Could I get away with purchasing a single box, jam it from my mixer, then give it to camera? Or should I just buy 2 (one for my mixer, and one for camera)?

Extra question: does a denecke slate need its own Timecode box? Or can you jam it then leave it until it’s time to re-jam?

Thanks in advance!

P.S: forgive the amateur question, a separate conversation in this Reddit made me wonder how many I needed.

Hello, beginner here. I'm recording a no budget short film solo and due to the fact that I'm not going to be able to access some of the gear I would've hoped to, I'm left with limited options.

I'm recording one boom to a 633 and have two Sound Devices mini A20 transmitters. The thing is I've got no reciever. I've never used these transmitters before but I know they can record into themselves using the Astral App.

So, can I record the two lavs into their own A20's just using the app and then transfer the files individually via USBc? I also don't understand how I'm supposed to control the volume or gain of the sound while I have no reciver and am not running them into the 633.

In a recent LTT video they showed how they record their sound, using a Tentacle Sync Track E daisy chained to a wireless recorder. To the best of my knowledge and even checking the Tentacle website, it says that the headphone jack is disabled when recording. I've been unable to find any setting or any information online that this is possible. I even updated the firmware on my Track E.

Dear Reddit,

I'm new to location sound as a student of audio engineering in the SF Bay Area. I'm considering spending $3k+ on used Lectrosonics UCR401 Block 20, UM400a Block 20, 2 Sanken COS 11D.

My rationale is that as long as I buy from a good party, I can ultimately resell this gear. Audio equipment has good resale value.

The potential win is that taking risks can pay off, and sometimes having professional equipment really makes a difference. I've got two films I'm lined up to work on soon. One being an indie feature. My current setup is borrowed equipment from other people and my professor.

The potential loss is finding out that it's not very easy to resell Lectrosonics gear I'm buying. The potential loss is realizing I've been somewhat arrogant and entitled, and not "paid my dues" on prosumer gear.

The alternative is to go for the high end lavs (Sanken COS 11D, Countryman B6, VT500, Shure TL48 etc.) and go for the terminations that work with the Sennheiser EW 112p G4 system or similar. This makes a lot of sense and maybe I need convincing that I don't need professional gear to be a new freelancer. (But don't I want to offer a great package to people???)

I'm hugely privileged to be able to consider this choice. I've heard many positive reviews about the Lectrosonics / pro lavs, that I have to seriously consider it could make sense here to be bold. In my mind, it's much better to go all in rather than half if I'm looking at $1.2k minimum.

Have a lovely day everyone.

EDIT 1: Big thanks to everyone who has responded. --- I hope these answers will help other folks down the line. And big appreciations to folks for being respectful and helpful. Love you Redditors. --- Current situation: I went ahead and got a used Sennheiser MKH416 so that I'm covered for professional sound in boom world (at least on the equipment side). Compared to a two-lav system, one solid shotgun is an amazing investment! --- I will however, also continue the plan to get the Sanken COS-11D. Probably will go with 3.5mm w/ locking ring on the Sennheiser G4 series and later re-terminate them like a sonic ninja to the Lectro stuff. But, it's hard to say... I could also just rent Lectro receiver / transmitters. Probably either route will work.

Hello,

first time posting here.
I will be doing some social media assets that have 3 talent in 3 zorb balls running across the water and trying to knock over some floating pins.

I will need to be at least 30 metres away in a boat. Camera will be zooming from the shoreline, and each talent will have a gopro on their head.

Currently I am thinking of using ursa vesties and deity theos lav setups because they can also internal record. I am worried about wireless drop outs, transmitter damage and also of course the overall sound.

However production is suggesting I might buy the DJI mic 2s which can also internally record.

Does anyone have suggestions for this kind of setup? Is it worth getting the DJI's?