WHAT TO BUY FIRST - LOCATION SOUND GEAR

[@felipepacheco7655]

12: Battery + distribution system.

[@dewocheerecords]

Man, This is probably the 10th time I've watched this video and not even counting your others. I appreciate you doing it!

[@jeremyleonbarlow]

24 Bit is great and its standard, but 32 Bit Float with a wide dynamic range giving you protection against errant peaking is nice to have.

[@charlesisrecording]

don't get a Tascam 😂😂😂😂😂, I started with a Tascam DR-680 (still have it), a Rode NTG2, a Rode boompole and the Sennheiser HD25 headphones (I got them as a bday present when I turned 18), the Tascam is not the way to go these days, I strongly recommend everyone to save a bit more and get a MixPre or a Zoom, the wireless part, yup, go for the G3 and G4 👌, I learned patience with my gear, there is no need to rush, if you're starting you don't need a Scorpio or a Cantar, rent everything you need for the project, and get a lot of rechargeable batteries!!! great video Rodolfo 🤘 keep 'em coming

[@SoundSpeeding]

DR680 gang! Still got mine. So good back in the day (for the price). But so bad now by 2020 standards.

[@Mpactpics]

'treat me like a lens...'😂

[@OPhoomwit]

“If it sounds good, it sounds good baby” Love it! Thanks for the great video as always!

[@beaverdctor]

This on a shirt♡

[@kannon3979]

Thanks, what's in your sound cart?

[@ProAudioIQ]

Love it! Great video, thanks!

[@StarskyHomer]

Thank you for the video. Another good tip is to power your system using v-mount batteries. Do not use AA batteries or your machine will run out of power in the wrong moment. Or you'll be constantly worried it will die. And another thing: the equipment you buy is determined by the jobs you are going to handle. A MKH50 is a pimp ass mic, but if you are going to be outside a lot shooting documentaries or doing ENG work, get a sennheiser 416. It'll be your sound buddy for life. And I am still rather fond of the Rode Filmmaker Kit as start out wireless systems. Nothing beats the easy to use work environment that gigahertz can give you.

[@TeddyRumble]

Save your $$$ starting out, get the 416 clone, the Rode NTG3. Indoors, the AT 4053b is half the price of the MKH 50.

[@lacemupboxing5051]

what's good RFLO!! Came across your video about 4 months ago and now I have already 3 projects under my belt.Good stuff brotha ✌

[@ChrisBstation]

I can’t wait for the timecode video. I still don’t really understand it.

[@TeddyRumble]

Easy: one master clock, that every other piece of sound recording gear, and the camera, are set to. A good time code system will only be off one frame in a whole day of shooting, if that.

[@demofactory]

I'm learning a lot from you. Thanks for sharing with us. Can't wait to see more videos from you. Happy New year friend.

[@RLFOSOUND]

Thanks more videos coming 🙌🙌 thanks for the support

[@ethanhampson3561]

What about the 533? though is a stereo recorder and not multitrack, couldnt you separate the dialogue in post?

[@RLFOSOUND]

Only if you pan left and right so basically only 2 tracks

[@Anecsontv1992]

thank you so much for your videos. im happy to have you as a mentor. i'm an up coming location sound recordist. can we talk privately sir?

[@metalinyourhead3604]

Great video! Definitely would’ve saved me time had I found it sooner. I’m confused though, if shotgun mic’s aren’t good indoors (I’m skeptical of this), what are you supposed to use instead?

[@TeddyRumble]

Use a condenser mic like the AT4053b or the MKH 50.

[@marianamcglez6696]

THANKS, THANKS AND THANKS

[@MixYourWay]

BDS/power distro/power solutions!

[@TeddyRumble]

V mount. With the Mixpre 3 and 6, a hassle, requires extra gear, a hirose sled, dummy battery, v mount battery.

[@throwinglight2817]

Another great video. Lots of great information. Thanks again.

[@ericdargan]

This was wonderful and so helpful. Thanks so much!

[@that_johnny_guy]

What are your thoughts between the Sennheiser MKE 2-EW Gold vs Sanken COS-11D? Looking to connect to my Tentacle sync track E with a TRS connector. The lav that comes with the Tentacle sync produces too much self noise than I'd like

[@RLFOSOUND]

I have only used the sanken before and thats a solid mic, you wont be disappointed

[@588ta]

Great video, Thanks

[@rescuethefrogstudio]

Thank you so much! This was super helpful.

[@remmelz]

So much useful information. Thank you :)

[@1manproduction166]

Thank you , you simplifed everything wow

[@dan.murray]

I love your vids man.

[@TeddyRumble]

Get over-the-ear headphones. Just more comfortable

[@brandonboomizad738]

How do you feel about the Sennheiser MKH 8050 vs the Schoeps CMC 641. I’m torn between the two of these because schoeps seems to be way more reviewed but for the price and the rf protection with the Sennheiser it seems like a good buy. But as context too I want to use whatever mic I buy for both in door dialogue and foley and possibly some field recordings. But mainly indoors and foley. Would really appreciate your opinion

[@TeddyRumble]

8050 is perfectly fine. The AT 4053b is a good mic at half the cost.

[@GarethWalkerPhotographer]

Thank you, great video!

[@systematic-sound]

"Rodolfo aka Big Daddy" ^^

[@shashank3837]

loved every second of this

[@UrDomb]

8:49??

[@gustavhegandersen5720]

Great vid man!

[@goodnightmilk3047]

Love the vid Rodolfo! Thanks again

[@DavidGriffin]

Zoom F6???

[@SoundSpeeding]

Get the F8n instead.

[@DavidGriffin]

@@SoundSpeeding It can't beat 32bit recording though

[@SoundSpeeding]

@@DavidGriffin if you're working as a production sound mixer, then 99% of the time you Do. Not. Need. 32bits (heck, my Sound Devices 833 doesn't have 32bits! Not a single professional field recorder has 32bit, none, zero of them) And Zoom F8n has many features that *are* useful which the Zoom F6 doesn't have.

[@DavidGriffin]

@@SoundSpeeding Then I will take your opinion as gold. I'm a one man band (loner without a boner). 32bit FPA would work for me but isn't necessary for you. Humbled. Question: are you live mixing most of the time during recording or are you using dual recording tracks to save from clipping?

[@SoundSpeeding]

@@DavidGriffin I understand there can be benefits for OMB shooters who are having to juggle audio too, and can't give it the attention it deserves, *but* are also handling the entire post production pipeline themselves (as normally, post will get upset if you give them anything but BWAV 48KHz 24bits!). However that's not a world either RLFO or myself would be working in. As for what we're doing, got to remember almost all (likely all!) of our tracks are going to be wireless. So what the hell is the point in 32bits then?? :-/ :-( Utterly pointless to use 32bits if your wireless are not also 32bits! (which doesn't exist btw) I *might* use a second safety track for (just!) the boom (but not the wireless) if I'm doing OMB (here I mean "One Man Band", not in the sense the whole entire crew is just one person. But rather those small productions where I'm the entire Sound Department, but the total crew are still 2, or 3, or even a dozen or more) with a hardwired boom.

[@pwoblem]

I have all the entry level gear and checked this complete list except one item, and thats the timecode boxes.. When you are on a budget, the one item that actually do not help me in any way to capture good sound is timecode boxes. Those $500 i'd rather spend on an additional G4 system (having 2 channels right now), sending a sub out to the camera instead. That would give me more gear to work with. I think its actually crazy the timecode is the sound guys problem. Shouldnt it be the DIT who is actually in charge of logging and syncing the material? :D This is just one of those things "which has always been that way and no one knows why".. I will keep renting the nano lockits for $30 for when the production require it, and not spend those $500-1000 bucks on a complete kit with all the cables you need for it.

[@mochouinard]

The thing with timecode, if they don't ask you for it, and you still provide it, they will love you for it after the fact and ask for it in the future !!! I know lot of small production don't normally use it, but they end up making their production better, show you as a hero and help getting people to work with you again ! (That said, you have to have done everything else right as well ;)

[@funnymono]

Thank you

[@IDDQDSound]

"You could get Tascam" *Don't get Tascam!

[@SoundSpeeding]

I started out with Tascam, the Sound Devices 552 / Tascam DR680mk1 was my first ever semi "professional" set up. And back in the day (pre-F8) this was arguably one of the best "low budget setups" you could have! But the Zoom F8 turned the world upside down at that end of the market, and Tascam never responded. The Tascam HS-P82 is great, but kinda old / overpriced now. The Tascam DR680 has been left in the dust by the Zoom F8/F4/F8n/F6. Only the Tascam DR60Dmk2 makes sense now from Tascam, for the dirt poor starving student artists, who can't even afford a secondhand Zoom F4. At that price point for a field recorder, then yeah. Tascam DR60Dmk2 is best!

[@TeddyRumble]

I swear by the Tascam DR 10L pro, like wireless, but it's a personal data recorder, put on talent with a lav mic, turn the recorder on, will run all day. The pro allows you to monitor up to 5 10Ls.

[@vyoufinder]

Ok.. Why not Tascam?

[@SoundSpeeding]

Tascam is missing in action, never kept up with the game once the Zoom F8 got released and turned the world upside down.

[@vyoufinder]

@@SoundSpeeding I ended up trying out the Tascam for about 1 minute before returning it and getting a Mixpre.

[@SoundSpeeding]

@@vyoufinder which Tascam? They've got HEAPS! But yeah, any MixPre or Zoom F Series is going to be better than any Tascam! (except perhaps the Tascam HS-P82)