I've been wondering if I could benefit from having a recorder that has more than two channels. I've been shooting mainly zero budget films, and have been borrowing Zooms and cheap Edirol recorders. But I'm wondering when, if ever, I'd use more than two channels when doing a film. I, of course, use just one channel most of the time. On occasion, I've used two when we miked a scene with two separate mics on two separate booms. And I can see using a set up with a boom mic and a lavalier for an interview. But, when would I use more than two channels, since I can't imagine using more than two mics or line sources when filming.
Absolutely dumb question about multi-channel recorders
- Thread starter scottfs
- Start date
JordanBlock
Well-known member
On bigger shoots, it's not uncommon to have wires on all the principals in addition to the boom(s). Extra channels let you record iso tracks of each mic, plus a mixdown done by the production sound mixer.
This is my standard operating procedure. While 97% of the time, I prefer the sound of the boom. There has been more than one occassion where the lavs have saved the long shot. Currently running boom + 3 channels of Senn G3 thru an PSC Alphamix and iso tracking to the Tascam DR-680.
It happens all the time on tv shows and feature films. Some shows that come to mind that did this that I had interaction with were Monk, Lost, and some lawyer show I can't remember the name of that didn't last one season. If you have a scene where you have multiple people with lines that interact in one continuous shot, and especially if the lines overlap, it is really common to put a wireless on the talent. I've seen up to 10 channels of production dialogue. It's most common on reality shows like Hell's Kitchen, Survivor, Fear Factor (when it was on), and the like.
Sam Mallery
Well-known member
The thing you have to keep in mind is that if you have four people with wireless mics walking around in a film or reality TV style shoot and a boom mic, there's a lot going on in you two-channel stereo mix output. If any of those mics pick up contact, wind, or vibration noise (or take a wireless interference hit), your fingers may not be fast enough to drop them out of the mix to the stereo output.
A good multi-track setup will allow you to create your two channel on-the-fly mix, as well as record all of those mics independently and pre-fader, so that the track is just raw audio. This gives the production the option of doing the entire sound mix in post.
A good multi-track setup will allow you to create your two channel on-the-fly mix, as well as record all of those mics independently and pre-fader, so that the track is just raw audio. This gives the production the option of doing the entire sound mix in post.
Gohanto
Veteran
To add a quick thought, there's a lot of gear you can by that WILL make your life easier on set and/or give you more flexibility, high quality tracks, ect...
Personally, I'd love a 788T.
For the gear I own though, and the work I do, I know other sound gear that needs upgrading more than my recorder.
Personally, I'd love a 788T.
For the gear I own though, and the work I do, I know other sound gear that needs upgrading more than my recorder.