Am I wrong about this?

With the understanding that I mostly do post and FX recording...

I have basically two set ups that get used for production work. The first is my FX package with different mics. It's a MixPre, I got it for a small DAT I had but I like using it as a front end and it has really good limiters, handy in production and almost essential for FX. That feeds a Marantz PMD671. I would go with one of the Tascams if I bought today because they have a better support/ firmware upgrade policy. For FX 99% of the time I'm using an X/Y paie of cardioid Oktavas and for production I'm mostly using a Hyper Oktava. Right now I don't own a good shotgun, I've had a number of OK ones and still have a couple but I borrow from a friend if I need one right now. One is on my list of things to get but I would use it pretty rarely so it hasn't gotten up to the buy stage yet. If I did a lot of production it would be much higher on the list. I also don't own any wireless. There are a pair of Senheisers with Tram lavs that I can borrow as needed, but that has only happened once so far. I do have a bunch of wired lavs though.

This setup has worked for the low budget films I have worked on. I don't do it a lot so I borrow or rent as needed.

THe other rig is an Alesis FW mixer into BoomRecorder. For those gigs I'm tying into an existing system so I may bring a mic or two just because but what I'm mostly bringing are snakes and tons of adapters.

The portable rig has been used a LOT for FX recording, a number of low budget shorts, a handful of docs and been pulled apart to be used for concert recordings.

The larger rig gets used mostly for the Dalai Lama gigs (I get called by a friend who films his teachings in the US) and those I'm generally recording 10 plus tracks and mirroring to a second drive.

What these two rigs don't cover is probably 90% of the paying gigs that others here are doing. ie Industrials and ads and any larger film shoots. But to really cover those I would need to drop tens of thousand into my production kit and I mostly do post so that is where that money went.

Someone might correct me but my guess is that to seriously do production for a living your looking long term at $30K - $50K in gear. Most likely your going to get there slowly, but once your set up to handle most shows I think you will be hovering around those numbers. I know it works up like that in post, though maybe a little less in these vertual days. I used to have a pair of 3/4" decks, and still have stacks of rck gear that hasn't been turned on in years.
 
You could look at a Fostex PD606 2nd hand, they retail for around 3k. It covers portability, an industry standard, mixer and recorder all in one. They have beautiful pre-amps, 6 Channels in, 6 Channel + 2 Channel Bus record, giving a total of 8 Channels. Records to inbuilt DVD-R, an internal 80 gig hard drive, and with the new firmware upgrade it also can record to an external usb drive. It also takes all forms of T/C. This can be used in a bag and on a cart, and runs on lithium batteries. If costs of battery system are a concern, you can get an IDX V-Lock to NP1 adapter.
Stay away from the PD6, because even though it has in internal 40 gig drive, the dvd burner records to DVD which is now an outdated format.
If you can hold a little longer until NAB, there is a rumor that one of the major companies will be releasing 4-6-8 channel mixer/recorder for around the 4-5k mark. It is only a rumor though, and will most probably take a while to reach the market place.
In terms of lavs, I use Sankens Cos 11's, and Countryman B6's. I have heard good things about the new Rode Lavs, but am yet to experience them.
For a Shot Gun, I would suggest spending a little more and getting a MKH416 or similar. It is an industry standard and you will keep it for life, even if you upgrade mics later. A cheaper option to this would be the Rode NTG3. People are in two opinions about this mic, but it is a bang for you buck type of microphone.
I hope this has given you some food for thought, and good luck!

Regards

S76
 
Noiz2 said:
With the understanding that I mostly do post and FX recording...



Someone might correct me but my guess is that to seriously do production for a living your looking long term at $30K - $50K in gear. Most likely your going to get there slowly, but once your set up to handle most shows I think you will be hovering around those numbers. I know it works up like that in post, though maybe a little less in these vertual days. I used to have a pair of 3/4" decks, and still have stacks of rck gear that hasn't been turned on in years.
Click to expand...

That's about in the ballpark. For the serious guys...we're talking union tv and features....I've put together complete sound packages ranging anywhere from $50K to well over $100K, but again, those are the heavy hitters. I've also put together budget packages for way less than that. The budget packages aren't as versatile, or "high end", but then again, neither are the projects that they are being used on. I would always recommend buy the essential stuff, like the mics, mixer, wireless, boom...and smaller things, and then rent the bigger things for the few times a year you might need them until you have worked your way up to where it is actually worth buying. Keep in mind that not only do you charge your day rate, but you also charge gear rental, so for example, on a big union show, it may cost $100K to buy a complete sound package, but then it's paid for within a season or two of gear rental, and then it's just gravy on top of that. I know guys that have made well over a million dollars in their careers just on gear rental alone.

In terms of buying vs. renting, my rule of thumb is this:

Over the course of a year, if it costs you more than half of the street purchase price of something to rent it, then just buy it.
 
Ok, so I'm now trying to find a decent mixer/recorder setup. I've been searching for hours reading what I can but my mind has now become exhausted with info overload. Seems as though the SD 552 is a good choice but I'm worried about not having an LCD screen to monitor takes. Also, some people say that you shouldn't really use it as the main recorder. So, I guess the other options is a 702T/442 combo.

What do you guys think?

I know there are other options but as Noiz2 had mentioned, it is sometimes better to have equipment EVERYONE recognizes so that you can get more gigs and be considered a bit more professional.
 
You hadn't mentioned you were in SoCal. If your anywhere in the LA area you can rent ANYTHING. NYC maybe the only other area you can rent as much different gear at decent prices. I would rent and se how you like the different options. Yo may actually be able to post a deposit and "borrow" some of the items since they are going to probably sell you gear in the end. I have had a number of "loaners" from one of the bigger outfits up here, but there is hardly anybody compared to the LA area.

Also since your in California AND working in the industry (close enough to say you are) you qualify for the "section 6378 Blanket Exemption Certificate". If you buy local, and you should, make sure to file one of those forms with them. Only places that deal with professionals will know what it is and be willing to deal with it - so no Guitar Center type places. Once you fill it out about five blanks you will be exempt from most state taxes on equipment purchased to use in media. Last I saw it was 5.25%.
 
Noiz2....TOTALLY good call on the tax thing. I had forgotten about that, but thanks for jogging my memory. I've seen that tax thing save people TONS of money.

I also agree with the renting thing. Get in good with a dealer you like (the big guns are Coffey Sound and Location Sound), and talk about what you are doing. You might be able to apply the cost of a rental towards the purchase price of that certain piece of gear you rent. When I worked in sales at Coffey Sound, I did that. You can also take time with the product specialist at whichever place you choose to deal with, and they can really get into the nitty gritty on the gear with you. It's important to get in good with a local dealer and be a regular, even if it's just getting AA batteries from them for home use. When you show your face in their shop, the more likely it is they will remember you and treat you right. I didn't care what level in their career someone was at. I made it a point to treat the entry level people with the same respect I showed the big time union guys. If someone doesn't treat you well, let me know, and I'll take care of it. :)
 
Noiz2 and Davefisk,

yeah, you guys make a good point. I didn't know there was a tax exemption. I've been mainly getting my stuff from online vendors just to evade taxes. I have another gig next weekend and was worrying about buying another piece of gear soon so that I have enough time to play with it first. I think my next trip is going to be Coffey Sound and see how many questions I can get away asking until I get the "are you going to buy something look". LOL

Is the whole "applying the cost of the rental towards the purchase" plan something that most these vendors do, or is it something I need to see if they will be kind enough to arrange?
 
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