I own a Zoom F8nPro right now and I’m pretty happy with it. One limitation that is obnoxious is that you can’t choose what track to monitor. You can’t decide to listen only to the boom or talent b’s lav etc etc. However, you do get true redundant recording and automix.

I know sound devices has some cool plugins and marginally better preamps. What are some more details that would set this device apart?

I shoot a lot of street clips on my phone, and for a while I thought the built-in mic was fine until I filmed next to a busy road and basically lost the whole take to traffic noise.

Tried DJI Mic Mini 2 recently just to see if it would make those situations a bit more usable.

I noticed that my voice tends to stay more “forward” in the mix, even when there’s constant background noise. It’s not like the environment disappears, but it feels less like everything is competing at the same level.

I also had one moment where a loudspeaker went off pretty close to me and I thought that clip was gone. When I checked it later, it wasn’t blown out the way I expected. The spike was still there, but it didn’t completely wreck the rest of the audio, which honestly surprised me.

If I’m too close to fabric or moving a lot, I still get handling/clothing noise, and some environments are just messy no matter what. I’m still figuring it out, but it’s been more usable than just relying on the phone mic so far.

interested to know how the separation distance works in the setup, angles etc and how they manage interference while recording??

Over a month ago I was hired by dazed to shoot an interview for some bullshit fashion person. I sent them an invoice the day of and it’s been overdue for a week now. They have ghosted me. No response.

What should I do? I’m based out of California and they’re from the UK. Is there anything I can even try to do? Next time I work for a international client I’m going to ask for cash EOD.

I've been thinking how recent technology (especially iPhones but including Android phones) can improve location sound. The first of my ideas I'll call the "iMic". Think of the basic AirPods. These use Bluetooth to send high quality stereo audio from an iPhone to tiny battery powered earbuds and simultaneously send low-fi voice-grade audio from a tiny mic back to the iPhone. What if we could reverse this? Send mono high quality (even 32 bit float) audio from a tiny but high quality mic back to the phone. On the phone itself the audio could be recorded and simultaneously be archived in the cloud. And, of course, since iPhones have access to frame-accurate time-of-day through NTP, timecode becomes redundant--it could be completely implemented in software.

The iMic is based on the idea that for radio frequencies the inverse square law is the enemy. Moving a transmitter-receiver pair closer together is the equivalent of vastly increasing the transmitter power and the receiver sensitivity. Because the iMic (transmitter) is so close to the iPhone (receiver) power can be extremely low but still have high reliability. (How often do your AirPods stop working or sound bad?) Looking at the physical dimensions, the mic itself could be somewhat larger than the AirPods, the electronics about the same, perhaps a slightly larger battery. The elephant in the room here is the size and weight of lav mic cables--the mic itself is much, much lighter and smaller than the combined bulk of the cable and its connector. Because of the much lower required transmission distance and power requirements, the whole device could be tiny compared to other self-contained wireless mic systems.

The big thing here is getting rid of the cable and connectors. By removing the earphone (the largest part) and the audio power amplifier (the most power-consuming part) from a single AirPod, you could create a short-range wireless mic with super quality that is the same size as the smallest wired lav mics but without the cable. Imagine a mic about the size of a COS-11D, weighing under an ounce, that didn't need a cord! It could fit on the collar hem of a T-shirt. Double-stick it to the off camera side of an actor's face. Transparent tape it to the inside of her glasses earpiece. Hide it in her hairline. Even put it between an actor's fingers or inside a surgical mask. The problem of micing-up an actor becomes trivial.

By creating one small product--the iMic itself--using existing hardware and some software, a company like Apple could revolutionize field recording and the workflow surround it. Personally, I wish somebody would do it.

What does the Reddit community think of the idea? I'd love to hear your comments.

I need one mic for everything: on camera, voice over, singing. Can Sennheiser mke600 with Tascam dr10l pro do it?

Hello everyone after understanding that a low budget mic is a bad idea.. i found out about this one the hollyland lark A1 mini .. what are your thoughts about it if i may ask . Its for just recording simple videos and audios in a room

Please advise on one man productions (plus actors of course).

The following are the two setups which I have in mind:

-Setting up a stationary boom stand and mic for dialogue scenes where I am left free to maneuver my camera...pan, tilt, use a gimbal or slider, etc.

&

-Placing my camera on a tripod for recording scenes where the actors do move which may allow me to hold and maneuver the boom mic.

Through some great insight, I learned last night that when focusing on one, it will inevitably sacrifice the other. However it's what I have to work with.

I know it's a complicated and tall order, but I'm excited to take on the challenge. Any tips/thoughts/ideas on this?

i’ve tried the SM7B but it still picks up anything going on in the background, so i was looking at shotgun mics and they seem to fit the bill but i’m not sure on the specifics - budget is around 100-200

With news networks now using camera operators with clip on lav, and these influencers using cheap wireless lav's and with increased use of phones to capture and live back.

How are people feeling about sound industry and sustainability for job security?

I had a producer calling me asking if I thought the audio form a go pro would be ok to post to A dailies app for a table read. I genuinely feel Like at best it would sound like a cellphone was placed 8-13 feet from the cast. Has anyone tested the working distance from cast to camera? Thanks

Audio post person here working on the occasional production job. Had the opportunity to use an F6 in 32bit for a gig I was also doing post on, and my god, it’s such a great workflow for what I was doing. No distortion at the pres, no need to even set levels for the isos. Because the isos were consistent level across the board, any noise reduction I do isn’t going to have to ride relative to the trim pot level. I’d take getting 32 bit 48k f6 audio any day now over a Scorpio etc. I know other post mixers whine about 32 bit but I’ve had no issues with it myself, though I always relink to the original production when I get an AAF. Any thoughts on these?

Hi everyone! The director asked me to record the dialogues of the clients of a bar, he wants clear dialogues but in a stealth mode. The environment will be full of pleople and very very noisy. He said that i can do that by placing two lavs under the table so they can’t see it (maybe on the border of it i thought)🤨 There are two points:

1. I’m not shure i can do that without permission from the clients i’m going to record

2. What is the best tecnique to do this? Boom is not an option and the table is empty until the waiters will serve your meal.

Any suggestions are important for me, thanks! 🙏

After an afternoon binging BTS of some films, I noticed that the teardrop foam on the Colette mics are all over BTS shots.

Would you guys say it’s teardrop foam is “Iconic”?

Hi! I'm an adult film maker and I use BlackMagic Pocket 6k Pro.

Right now I use BOYA BM3030 and I'm having ambient sound issues.

I want to buy a new one and I'm thinking on RODE VIDEOMIC NTG or SHURE VP83

I'm from Chile and I need asap the new Mic.

Which Mic would you recomend for me?

Hi - We hold a monthly meeting ten months out of the year and want to hire an engineer to set up and strike 12 mics and 2 speakers in a 50x50' room. During the actual meeting, we don't expect to have a

The pay will be consistent and regular, but we need the engineer to be dependable. In order to ensure this, it may be best to go through a company or agency that can guarantee attendance.

We will not be able to pay the day rate, so it will be hourly but a fair rate. Any suggestions on who to contact?

I am currently looking for someone to operate sound for production of a short film proposal for Angel Studios. This can vary from A Boom Op to a Sound Assistant. I plan to shoot either between late March or Early April in two park locations in Corona, California.

Is anyone in the area looking for a position as this? It would be greatly appreciated.

I have used Sennheiser wireless systems in the past that have a transmitter and receiver where I'd be able to change to the frequency.

For budget reasons, I was wondering if I could use 8 Rode Wireless Gos instead of using the tried and true 8 Sennheiser wireless systems and if there was any other options I should consider.

Main question - Will there be any problem/interference using 8 Rode Wireless Gos at the same time?

Hello everyone - new guy here.

Wonderful content and knowledge in this sub - been learning a lot from you.

So, I have absorbed "some" knowledge from around the internet - so it must all be true! /s

My situation is as follows: I'm looking to record some audio for some short image/product/industry films for the company I work for (sales in IT company) - and to save some money/make the most out of our budget - we're going about it from the following angle:
DP - hired PRO
Director - hired PRO
Cutter - hired PRO
Lights/Gaff - me (decent experience from photography, have a lot of gear already, mainly photo, but also some video, feel pretty confident on this as I've lit some video scenes and quite some photography sets before)
Audio - me (no measurable experience, but high technical understanding)
Assistant to all - me

So what I'm looking for is some critique/inspiration/different angles on what I could improve.

The setup I have for audio as of right now is as follows:
Recorder: Zoom H6N
Mic: AT875R

Shots are going to be mostly indoor interview style shots/talking head, I'm planning on booming the AT875R (either improv boom pole, or might actually buy a Rode or something like that) while having the Zoom H6N on my person, and having the line-out connected to a cheap wireless transmitter (Pixel MK-7, got it used on the cheap), and having the receiver going into camera so the sound from the recorder can be matched easier to the sound on the video from the camera (going to be using my own camera for recording, Canon 1DXII which doesn't have a way to sync time-code, so this is my jerry-rigged solution to having that done) - how bad of an idea is this?

For booming - how necessary is a blimp? Some of the shots are going to be on location (from our customers workers using the workplace apps our IT company make) so there is going to be times where the environment isn't sound-controllable (warehouse, street, etc.)
I currently have a Blue Mantis Deadcat and some cheap shotgun holder with o-rings, is that going to hold up or is it going to cause problems?

Last point I'm aware I need help: How do I choose an XLR cable to go from AT875R to Zoom H6N? what are the specs I should be looking out for in order to boom it?

Thanks for much for your time, help and critique!

Hey soundie fam,

I just added the Sennheiser G4 EW500 Boom to my kit and I am having a really hard time using the sync function with the buttplug. When I hold the RX to the TX and hit sync, it just times out.

Since I can't see an infrared sensor on the TX, I don't know exactly where to touch the units together. Anyone else having this issue? Where's the sweet spot?

I mean, I can manually sync them but what fun is that?