My Audio Kit

G

Gorilla King

Well-known member
Well I've secured the financing I've been looking for so say hello to my new Audio Kit (not including cables (star quad with Neutrik connectors if you're wondering), mounts, socks, boom poles, blimps, softies or other less interesting things):

Pelican 1600 Case
Oktava MC012
Schoeps CMC 641
Schoeps CMIT 5U (Yes the fact that it's blue had something to do with my choice to buy it)
Sound Devices 702
Sound Devices 302
Sony 7506 Headphones

I'm going to have some fun with this stuff! :Drogar-BigGrin(DBG)
 
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Very nice, good luck using the kit and paying it off.

I think it is weird to see an Oktava in that kit though, but nice kit.

-Jeremy
 
I bought the Oktava after you all got me so excited about it. Then I thought to myself "why stop there?" Congratulations, you've turned me into an Audio freak! :Drogar-Evil(DBG):
 
Gorilla King said:
[...] so say hello to my new Audio Kit [...] :Drogar-BigGrin(DBG)
Click to expand...

You've made some "most excellent" choices, obviously your someone who understand that sound is half of the picture (or more)... What has been your experience with the Schoeps CMIT 5U? That's one toy I've not had a chance to play with yet... is the sound as good as the color is mesmerizing?
 
I haven't had a chance to test it yet since I haven't actully rceived any of the equipment yet. I just found out today that the money would be available so it'll be on it's way shortly.
 
Nice package Gorilla. Mind if I ask who you ended up buying it thru?

On a related topic, this months DV mag has a CMIT review in it. No new news but to say it is a great mic. The reviewer believes that the CMIT handles off-axis rejection smoother then any other interference tube out there (he did not make mention of the Sanken CS3e).

Suffice it to say, you will be very happy with all that gear.

Now, don't forget the wireless. :)

Cheers
 
im going to chime in with my two cents here:

1) the 302 KILLS the mixpre. if i had as much money as you seem to, i would definitely go for the 302, or preferably the 442, even at the expense of the CMIT.

2) im assuming you have budgeted and also purchased shock mounting and wind protection - this can come to several hundred extra dollars

3) im assuming you already have, or have budgeted for, a good quality boom pole. without this, those mics will not do very much for you.

Great kit, I would change some things myself, but if you've done the research and know what you need, then good for you.
 
I think I'll order the majorty of it through Coffey Sound. A few things I may have to get from B&H though.

Timapter, what's the advantage of the 302 over the Mix Pre aside from the obvious extra channel? Does it have better preamps? I'd be willing to go a bit higher if I'd ultimatley get better sound by buying it. The 442 is a bit out of my range. At least for now. Maybe in a year or so I can uprgrade.

And yes I have taken into account all of the things above. I haven't decided specifically which mounts and wind protection I'm going to get so that's why I didn't mention it. I also have a good boompole, so I'm all set there.

I'm a filmmaker, and I'm starting my own small business doing prodiction work so I can make a living and fund my films. It's nice because I can write the equipment off on taxes since it's for the business and then next year when it's time to shoot I'll have everything I need. I've figured that I'll set aside roughly 5,000.00 a year to buy new equipment with so next year the 442 is a definite possibility. This year is the exception however and when all's said and done I'll have spent around 18,000.00 on new equipment. I should ave everything by the end of the summer and then I'm going to go up to aspen to my brother's place and test it all out and shoot a promo video for the company. I have a handful of potential clients lined up already, so things are looking prety good. Now I just need to figure out some reasonable rates. I'm going to focus promarily on doing commercials and promotional videos for small businesses.
 
Well, the difference is not so much preamp based as functionality based.

the 302 has better metering than a mixpre (much better metering), and the 442 has even better metering than the 302 (although, not hugely better, but still better). The 302 gives you an extra channel, but it also gives you more features - like output limiters (seriously useful), and variable tone and output levels (lets you work in more ways with more camera's).

If you are only ever going to shoot with two mics, the mixpre is ok. The 302 is much easier to use, and gives you more workflow options though.

However, the second you add in wireless (usually two channels), and plant or second booms, you need more channels and more options. This is where the 302 helps, and the 442 shines.

Id go with the 302. Resale is so high on them you can just sell it and pay in the extra when you upgrade to 442- money totally in the bank.
 
I have decided to go with the 302. I don't know that I will ever shoot with more than two channels of audio, but the monitoring and output limiters would be helpful to me. I'll really only be using this stuff with my own production kit so I think I should be okay.
 
Can anyone say whether there are significant benefits of the 442 vs. ganging 2 302's together? That is the direction I'm leaning towards right now...

Phil
 
direct outs , better monitoring section , spare input and much more main bus outs + mono out for ifb ,beter meters , boom operator comunication , 2 returns
better pots
maybe something else i forgot about
 
oleg are the pre-amps essentially the same between the 302 and 442?

im doing a project soon with two principal characters. im guessing the max amount of tracks id need at a time in would be 4 (2 wireless, 2 boom - and this is unlikely for most of the film). I will be recording with 2 two track recorders (Nagra Ares BB+). Im trying to decide if i should rent another 302, and run dual recorder/mixer setup.. (im thinking most times I could use a bag with just 3 in 2 out), and then run cart based 6 in 4 out when I need it.

im going to download the 442 manual to check it out, but any experiences would be great..
 
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sounds the same
dont know - i always prefer to work with one mixer in the bag
not to mention if you are recording to camera and recorder the 442 woill be better for monitoring both devices
 
nice setup.

i would definitely not just go and buy all that from b&h

i would deal with someone at a place that JUST does sound.

i just ordrerd a small fortune in stuff today from gothamsound.com

i have used them a lot in the last 4 months and i highly recommend them.

i've been dealing with micah he has been HUGELY helpful and patient on the phone helping me find solutions to lots of strange requests.

not just for the good prices but the time they spend on the phone listening to what you say and then often saving you money by suggesting slightly different solutions.

about 80% of whats in my sound kit i got from them...

442 - upgraded to this from 302
744t - tried tascam pd2, tried 722, wound up with this for timecode.
denecke ts3 slate - backlit
ktek 152ccr boom pole - upgrade from gitzo - new one has internal xlr and is 3+ ft longer
boom tube to protect new boom that cost more than my first car!
gitzo carbon boom - unwired 9ft long - first boom still a great spare
ktek zep - great deal on a great shockmount + the huge windscreen - under $300
psc duplex cable to feed sound from boom pole and feed audio to boom operator
custom 25ft breakaway cable from 442 10pin hirose to two xlr + 1/8 stereo mini for return A
return B is a ta3f cable from 442 to 744 custom made by gotham.
(4) ta3f custom cables to feed direct sound out from 442 to 744t
lets me save 4 mic outputs with no mixing at 24 bit 192k
microphones...
(2) oktava mk012 - hypercardioid in black - one of them has omni and cardioid too
sennheiser 416 - have had that for a year. might pickup a sanken
lavalier mics
(2) sanken cos-11s (one of them is the battery phantom, other is phantom only)
boundary/plant mic
sanken cub-01
sennheiser 46 - traditional handheld dynamic mic
wireless
sennheiser g1 and g2 + plug on transmitters (might try lectrosonic in the fall)
np1-b battery to run mixer and digital recorder
custom y cable made by gotham to split power from np1-b battery to both 442 and 744t
np1-b battery cup
(2) sony 7506 headphones - good pair for me and used pair from ebay for boom op
garfield earpad covers to absorb sweat and keep ears warm in cold. also to easily tell which headphones are MINE
BoomMate - lets you hang boom pole from C Stand instead of standing still for 2 hours holding it!
petrol eargonizer 2 bag - i tried 2 other bags before i tried this one and you guys were right. it is the best one out there. nice place to stash np1-b battery and nice sidebags to put wireless in where they are out of your way till you need them.
last but not least 2 custom candy cables by MattinSTL - red for right and blue for left!
 
the only thing ill consern is take 702 t not 702
the benefit of tc is hudge for documentary work
no need for tc slate as long you have freerrun tc on camera
 
but if your working with a camera that doesn't have any method of syncing timecode with a recorder the timecode slate can be a huge timesaver.

as far as i know even the hvx-200 doesn't do timecode syncing in the way we mean with the 744t etc.

plus i got the slate pretty cheap on ebay and it looks really really cool!

matthew
 
matthew i see you dont get what i am trying to explain here for months .
you dont need tc slate to save the time , except sony fx and 2100 that still working there, and couldnt be running free run tc ,all others have free run tc what completely eliminate slating every take for automatic nle synchronization with or without tc out / in on the camera .
 
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i guess i don't understand.

i totally understand free run and rec run...

and i'm pretty sure your not just talking about taking the sound from the 744t and matching it to the recorded scene using the clap from the sticks on the slate...

so what am i missing?

matthew
 
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