beginner sound recorist here needs advice

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daviddax20

New member
Hello,

I'm a composer and sound desinger trying to learn more about working on location sound. I live in Hollywood and i'm thinking this is a great way to make some extra money since mixers and recorders are in such demand. So far, I've managed to get the low down from this site and figure out what I need to get me started. I have about $1,400- $1,500 to spend. Here's a list of equipment that i think I'll need.

* Tascam HD-P2 portable recorder with Timecode - (do I really need the timecode feature? I'm not sure if this is necessary. I know that the timecode will make it easy to sync video and audio, but the timecode also is pricy. Maybe a chaeper recorder without timecode may suffice. What do you think?)

*Oktava mic-- (I think this is a no brainer. But do I need 2?)

*shotgun pole (just something cheap to get me started)

*Wireless mics (not sure about this one, this will raise my costs past my budget. Can I get by without? If a director wants to use wireless, is it possible to convince him/her that 1 or 2 shotguns is enough?)

Basically, I think I can pull it off with $1,500. But if anyone with experience can give me their input, I'd appreciate it. I guess my biggest dilemma is buying the right recorder. I'd rather go with something cheaper than the Tascam HD-P2 ($1,000), but i think if I want to do this professionally I may need the timecode.

Thanks
 
tascam is ahalf tc - let say if you need tc look for user fr-2
sorry what kind of jobs you are looking for since octava and tascam dont give you much
start with mixer and normal shotgun if youare looking for eng , then jump
by the way welcome to the board .
 
To expand on Oleg's point, the Tascam HD-P2 will only read timecode, it won't generate it. So, you'll have to be constantly plugged into something that can generate TC (camera, another TC recorder, smart slate, etc.) The lack of a TC generate function means that the HD-P2 isn't really that good a value compared to the Fostex FR-2. The FR-2 will also record to 1.8" microdrives, which give you a longer record time (a 60GB microdrive costs liss than a 1GB CF card).

A ENG/EFP mixer is probably a better initial investment, since most of the projects you'll be learning on will be recording single-system into the camera. Even with a portable recorder like a FR-2 or HD-P1, a good portable mixer on the front-end will give you better mic pre's and better access to mixing controls. That, and many recorders will not let you sent Phantom power to one mic input without sending it to another.

Don't forget that you'll need shockmounting and wind protection for that Oktava. Also, if you're shooting exteriors you really should have a shotgun mic.

Rent the wireless mics, until you build up enough of a client base that you can buy your own wireless kit and have it pay for itself in short order. If you just buy the wirless mics you can aford now, you're likely to be dissapointed with their performance. Better to rent the best that the client can afford.
 
SMuir,

Just to be accurate, the Tascam actually can generate TC. The problem is, it does not have a TC out port on it. Effectively the same difference, but just being nit-picky today.

As far as a 60GB microdrive goes, where have you seen one for under $40? That's what a 1GB CF card goes for now. BTW, that has nothing to do with the Tascam vs. the FR-2. Tascams can use Microdrives. (BTW, in case you didn't see it before - I'll repeat something a friend of mine that works in Hitatchi's storage division told me - never store anything important on Microdrives - they fail too often. Of course, YMMV, but I will not use a Microdrive with any recorder.)

Phil
 
To expand on the above posts, your average ENG sound mixer will have $20,000+ of gear at a minimum. Your Hollywood location mixer will have $100,000+ of gear. More importantly they will have years of experience field mixing.

But all is not lost, you live in Hollywood and an apprenticeship is only a phone call away. Start by boom oping for an established mixer and learn the basics. Your background in sound will make a big difference and put you ahead of the game. While under his tutelage you can learn what sort of gear you will need immediately and what sort of gear you can rent for now and buy later.

Since you are someone interested in sound for picture you might find RAMPS to be a forum more directed to suit your needs and inquiries. DVXUsers has a few sound pros but is mostly made up of video centered guys/gals looking for the cheapest buy out to quality sound. Completely different priorities then someone looking to be a sound professional.

Good luck
 
Oh, I forgot to add to my previous post:

If you want/need to use TC with the Tascam, you have a couple of options for TC generators that work with it:

1. TC slate. You can find a used Denecke TS2-SB TC slate for around $500-600
2. You can buy just the SB unit from Denecke for like $300
3. You can buy a tri-level synch box for around $900

As far as pricing goes, I think the Tascam + any of the above options will still be less expensive than an FR-2 with the TC option added.

Phil
 
I stand corrected. Thanks Phil.

As for the microdrive question, I re-priced the 1GB CF cards, and sure enough the price has dropped since I last bought one. I've heard varrying reports regarding the CF vs. microdrive issues. Some folks I've spoken with swear by the microdrives, pointing to the CF's vulnerability to static discharge and other things that can fry the data. On the other hand, I've had problems with mechanical noise from certain drive models. For me, the ballance tips in favour of microdrives when I have to record a four hour stretch without having an opportunity to swap CF cards.

Needless to say, I've always treeted both CF and microdrives as highly volatile, offloading as soon as possible.

Thanks, also, for the corrections regarding the HD-P2. Does this mean that the Tascam machine can be Jam synch'd and opperated in free-run?
 
Smuir,

Yep, the Tascam can be jammed and operated in free-run mode - I use a Denecke slate as my TC source. A little risky if the AC decides to play with the switches on the slate (like the on-off switch) so I put a piece of tape over the switch, just to add a little extra security. I also put the fear of god into them by letting them know they can blow the full TC setup for the day if they turn the slate off. ;-)

As far as the microdrives go, my friend works in the quality control group, tasked with analyzing failed drives when they're returned. (IBM created the microdrives, then sold their hard disk division to Hitatchi). She has told me horror stories about the drives, and how often they just can't id the source of the failure. I have to trust her judgement - she knows the drives way too well.

Phil
 
phil , doest it stamp tc if you dont synk it from the outside (does it use tc from time of a day ) on the files ?
 
Oleg I will have to test it. I have always jammed it from the slate and used free-run. I know it does have a TOD function, but have never tried it.

Phil
 
this is what the most important , if it doesnt then it doesnt have any self tc capability .
by the way check if it does stamp it shoes frames , not only the seconds .
i still think it s good for backup only as you need ext tc source all the time ( or at least till you power off),
for non tc issiues it is quit good recorder at least from what i heard when i briefly checked few months ago.
By the way , if you add the zeffiro you can get very nice 4 channel recorder in the bag , not to mention tc generator -)
never mind Phil , 2 years from now we will would be able take the tc from GPS so will not need synk anything at all :-)
 
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