I'm about to shoot a documentary for one month. I wll be travelling consistently within that month and have a crew coming along to assist in all aspects of production.

My key worry right now is audio. I have just purchased two shotgun mics, i got this from looking over the logistics of the amount of movement we will be doing, and we will not be sitting in one place for more than 2 hours.

I also have a field mixer.

But what does everyone think about the lavalier? When are the best situations for them to be used?

I've heard comparisons and personally i prefer the quality of the shotguns, but i still want to better understand what are all the positive aspects and negative of both the shotgun and lavalier systems.

Thank You!

Kevin... your question is a good one, but to tell us you are on the cusp of a month long documentary shoot and be asking this level of audio question rather suggests you waiting until a little late in the game to think about audio.

However, that said, I think it is fair to say three basics for your question come to mind to start. 1. A good shotgun properly done with a good mic properly handled and placed will more than likely produce better sound for your production than a lav will.

2. Lav's can certainly have their place however. Lav placement and visibility can be an issue, as can clothing noise if your talent is moving. Wired is best, but if you can do a wired lav you can probably do a shotgun. (Suggestion: "When able use cable".)

3. Wireless lavs can be a lifesaver. You'll need good ones and ones you can legally and safely (interference wise) use wherever it is you are shooting. Same issues about placement and noise apply.

This site has a ton of good info... Ty Ford has a nice little useful book on Location Audio... he has a website under his name.com and you can learn a lot there.

Catchup time for you methinks. Lots of good and experienced folks here who might better assist you. Good luck.

If you'll be indoors, especially in small rooms, then a shotgun (with interference tube design- the long tubes with slits along the barrel) can pick up unpleasant amounts of reflected sound, which you will find difficult to impossible to remove later. You'd be better off, in those situations, using a microphone with a hypercardioid pickup pattern. Search this site for recommendations, then go and try them before purchase/rental if you're able.

Also, practice. Booming is not as simple as it looks, and is a combination of several skills. Different mics with respond differently to placement. Using the lav as well, if you have recording channels to spare, might be a good idea since you might be more likely to make mistakes. Practice is in your case particularly vital, as it seems as though you will not get a chance to try again before you have moved on- also, you're recording real people, and you don't want them to have to repeat themselves, as you won't get the same results.

I don't know what I'm talking about, mind you.

And good luck!

And practice!

I'm about to shoot a documentary for one month. I wll be travelling consistently within that month and have a crew coming along to assist in all aspects of production.

My key worry right now is audio. I have just purchased two shotgun mics, i got this from looking over the logistics of the amount of movement we will be doing, and we will not be sitting in one place for more than 2 hours.

I also have a field mixer.

But what does everyone think about the lavalier? When are the best situations for them to be used?

I've heard comparisons and personally i prefer the quality of the shotguns, but i still want to better understand what are all the positive aspects and negative of both the shotgun and lavalier systems.

Thank You!

Hi Kevin:

Not trying to be negative at all, but I agree with Chris, it's pretty late in the game to learn a new profession and craft right before you begin your shoot. There is a distinct reason why good location sound mixers earn between $500.00 to $1,200.00 per day, it's an art and a science.

It's not clear from your post who will be recording your audio? You? A camera operator? A PA? If you have access to a professional sound mixer, you will not need to worry about this, most sound mixers own their own gear or can rent what you will need. My suggestion would be to beg, borrow or ask for a sound mixer, sound is more important to the success of your project than almost anything else.

To answer your question, you did not post the type of doc you plan to shoot, but assuming it's a doc, it will be interview driven most likely. In this type of situation, Audio 101 would be to always shoot with both a lavalier and a shotgun or cardioid variant mic. You must give your editor choice. A shotgun or cardioid variant will usually sound better but there may be ambient noise issues that will preclude you from using the shotgun or cardioid variant mic in certain situations. In which case, you will be really glad you brought a lavalier, because then you will still be able to record usable audio.

Regardless of if you are recording or you are hiring a sound mixer, I would suggest some reading to get up to speed.

http://www.kenstone.net/fcp_homepage/location_sound.html
http://www.kenstone.net/fcp_homepage/right_mic_brockett.html
http://www.kenstone.net/fcp_homepage/lavs_brockett.html

These three will at least give you some education about how location sound works, why you need certain mics, mixers, mic support and a million other details. The best advice is to hire a pro and let them give you great audio. Trying to do it yourself has a slim chance to success frankly.

Best,

Dan

Kevin... I had hoped someone like Dan would chime in. Trust me you are hearing from the pros at this point.

Apropos of little of anything.... I have a friend who has been teaching kindergarten for 30 years. A friend of hers, who is a nurse, decided to home school her kindergartener. In a conversation with my 30 year veteran teacher, she asked if she might garner a couple hours of her time to learn how to teach a kindergartener. To her credit, my friend countered - "why not make it 4 hours, so in a couple hours you can teach me to be a nurse too."

Audio is the bastard stepchild of modern film production, yet makes up more than half of the typical listeners experience. Film-makers often treat it as if you can pick it up in a couple of hours. (Or easily "fix it in post")

Folks like Dan are golden (and he is one of maybe a half a dozen seasoned experienced pros on this board audio-wise). They all are well worth a listen and offer advice you cannot buy.

Kevin... I had hoped someone like Dan would chime in. Trust me you are hearing from the pros at this point.

Apropos of little of anything.... I have a friend who has been teaching kindergarten for 30 years. A friend of hers, who is a nurse, decided to home school her kindergartener. In a conversation with my 30 year veteran teacher, she asked if she might garner a couple hours of her time to learn how to teach a kindergartener. To her credit, my friend countered - "why not make it 4 hours, so in a couple hours you can teach me to be a nurse too."

Audio is the bastard stepchild of modern film production, yet makes up more than half of the typical listeners experience. Film-makers often treat it as if you can pick it up in a couple of hours. (Or easily "fix it in post")

Folks like Dan are golden (and he is one of maybe a half a dozen seasoned experienced pros on this board audio-wise). They all are well worth a listen and offer advice you cannot buy.

Jeez Chris, I am bright red, thanks! I am not a working sound mixer though or a trained engineer, I just like audio. But I do spend a lot of time on movie and tv sets, and I always hang with and have a good relationship with the sound mixers. I shoot a lot of EPK and DVD BTS work and I usually get a tap from the sound mixer to record to my camera so I actually get to hear how great these people are at what they do. Working guys like Ty are the real deal. But I did own an audio post house for a few years, I write a lot about sound and I grew up in a recording studio in my teens so I do know enough to be dangerous.

Hiring a good sound mixer is the best investment you can make into any project with location sound. You are so right on in that audio is the neglected stepchild, it really is and for the life of me, I cannot figure out why. Low budget people will hire a DP, but will try to do audio themselves or hand it off to a PA. Makes no sense.

All my best,

Dan

Thank You all so much for you advice, I'm taking it all into heart, and looking at every little detail. I really admire you all for taking the time to write all these pointers and provide the links as well from the professional standpoint.

To explain what kind of documentary i am doing. It's actually a series of short documentaries. They will be about 10-15 minutes each in length.
Our website is www.icanucan.org

The subject is a non-profit organization that i work with called the International Children Assistance Network (ICAN) www.ican2.org. They are based in the Vietnamese American community, and work to fund other organizations or programs back in Vietnam to help children and their families in the rural areas to acquire better education, healthcare, and life opportunities.

Each short documentary will be on each of the programs that ICAN funds.

As for audio equipment, i have experience working with a shotgun mic a few times, and a lavalier. Though this is my first real big project, and so i'm just stressing over every little detail and making sure that i have the knowledge and experierence to make it all happen, because there is not going back to fix anything, i MUST capture everything in camera.

Though i do i have a crew, seven people to be exact. I have a 2nd unit camera man, i have 2 sound guys, interviewers, and field producers. Though non of them have experience in field video. I am the only one who comes from a film background (actually i am still in school studying film). I myself am the director, and the 1st unit cameraman.

Out of my two sound guys, one actually has a lot of experience with sound, but not field audio. More studio work.

The layout for the trip is beginning from the north of Vietnam to the south, for an entire month. For each program, we have 2-3 days at each location to capture everything.

It is very much interview driven, though in the end there will be a lot of B-footage laid over to make things more interesting and bearable to watch instead of just talking heads.

Since we are moving so much, i decided to rely primarily on shotgun mics (sennheiser me66, audio technica at897), because those people we interview might take us to places where certain functions of the programs are at, and we can capture that. I do have a lavalier microphone too. But now i am considering getting an extra one, i just realized this as i typed it that if their moving, and talking it might be wise to have them hooked up and the lav wired to the 2nd unit camera.

As you can see i am inexperienced, and am taking on a huge feat, this is my first big project, and there are many things that i know i have overlooked, but desperately need to become aware of as the project is coming very close. I wish i would have more time to work with the audio equipment, but our funds have just come in last weekend so that we can buy all the extra necessary equipment for field production.

Please keep all the advice coming, i need everything i can get, i really appreciate it all!


- Kevin

Thank You all so much for you advice, I'm taking it all into heart, and looking at every little detail. I really admire you all for taking the time to write all these pointers and provide the links as well from the professional standpoint.

To explain what kind of documentary i am doing. It's actually a series of short documentaries. They will be about 10-15 minutes each in length.
Our website is www.icanucan.org

The subject is a non-profit organization that i work with called the International Children Assistance Network (ICAN) www.ican2.org. They are based in the Vietnamese American community, and work to fund other organizations or programs back in Vietnam to help children and their families in the rural areas to acquire better education, healthcare, and life opportunities.

Each short documentary will be on each of the programs that ICAN funds.

As for audio equipment, i have experience working with a shotgun mic a few times, and a lavalier. Though this is my first real big project, and so i'm just stressing over every little detail and making sure that i have the knowledge and experierence to make it all happen, because there is not going back to fix anything, i MUST capture everything in camera.

Though i do i have a crew, seven people to be exact. I have a 2nd unit camera man, i have 2 sound guys, interviewers, and field producers. Though non of them have experience in field video. I am the only one who comes from a film background (actually i am still in school studying film). I myself am the director, and the 1st unit cameraman.

Out of my two sound guys, one actually has a lot of experience with sound, but not field audio. More studio work.

The layout for the trip is beginning from the north of Vietnam to the south, for an entire month. For each program, we have 2-3 days at each location to capture everything.

It is very much interview driven, though in the end there will be a lot of B-footage laid over to make things more interesting and bearable to watch instead of just talking heads.

Since we are moving so much, i decided to rely primarily on shotgun mics (sennheiser me66, audio technica at897), because those people we interview might take us to places where certain functions of the programs are at, and we can capture that. I do have a lavalier microphone too. But now i am considering getting an extra one, i just realized this as i typed it that if their moving, and talking it might be wise to have them hooked up and the lav wired to the 2nd unit camera.

As you can see i am inexperienced, and am taking on a huge feat, this is my first big project, and there are many things that i know i have overlooked, but desperately need to become aware of as the project is coming very close. I wish i would have more time to work with the audio equipment, but our funds have just come in last weekend so that we can buy all the extra necessary equipment for field production.

Please keep all the advice coming, i need everything i can get, i really appreciate it all!


- Kevin

If you'll be indoors, especially in small rooms, then a shotgun (with interference tube design- the long tubes with slits along the barrel) can pick up unpleasant amounts of reflected sound, which you will find difficult to impossible to remove later. You'd be better off, in those situations, using a microphone with a hypercardioid pickup pattern. Search this site for recommendations, then go and try them before purchase/rental if you're able.

I would like to second this suggestion. A hypercardioid will work in situations where shotguns are problematic. Some are outstanding at rejecting off-axis sound and they are also very good for capturing very natural sounding human voices in interviews.

Good luck.

Peter
www.parkfilms.com

Include a handheld dynamic mic that can be used when all else fails.

Some kind of watertight, moisture proof storage protection for the mics would seem to be in order.

Hello Kevin,

Send the shotguns back and get a couple of Sanken CS-3e mics. They look like shotguns but aren't.

BTW, I proved again this past week that shotguns are not that great outside either on a shoot for Apple COomputer in Ft. Belvoir, VA. We had lots of background noise from mowers, helicopters, fixed-wing planes, trucks, etc..

The hardwired lav (Countryman B6) I used tucked under the army officer's collar frequently sounded best because interference tube mics are more omni at mid and low frequencies. The omni won because it was closer to the officer's mouth and his body blocked some of the ambi.

Good luck.

Regards,

Ty Ford

PS: Chris, thanks for the hat tip.

Hello Kevin,

Send the shotguns back and get a couple of Sanken CS-3e mics. They look like shotguns but aren't.
Regards,
Ty Ford
PS: Chris, thanks for the hat tip.

That's a good idea, and it will only cost an extra $2110 for the pair.

Good advice that lives by the law of diminishing returns.

Or get a couple of AT875rs. an at4051a with the additonal 4053a capsule, and a couple of waterproof small lavs. And all for less than the two Sankens, that I think may be of dubious value while traveling fast through the jungle, down the rivers and under the rain.

Oh, and get a good handheld dynamic mic you can use huddled under a tarp in a torrential downpour.

That's a good idea, and it will only cost an extra $2110 for the pair.

Good advice that lives by the law of diminishing returns.

Or get a couple of AT875rs. an at4051a with the additonal 4053a capsule, and a couple of waterproof small lavs. And all for less than the two Sankens, that I think may be of dubious value while traveling fast through the jungle, down the rivers and under the rain.

Oh, and get a good handheld dynamic mic you can use huddled under a tarp in a torrential downpour.

Hey Jack,

Who peed in your Wheaties this morning?

Regards,

Ty Ford

I understand both Ty's response and the response to that.

BUT... what I took away from Ty's short message was something I had not thought of before.... inside you may get reflected sound with a shotgun.... and so since we logically assume that outdoors that will be absent we are home free.... NOT.

Ty reminded (and for me at least this time around... taught me) that background ambient outdoors CAN be an issue with a shotgun .... something we forget. That the back lobe can be more omni than we think is good to know.

Me? I still believe in doing an outdoor shoot requiring a wireless Lav with the Lav panned to one channel and a shotgun panned to the other. Seems like that idea has found some (new for me) support....

I keep playing and experimenting with what I learn and so far it has proven out every time.

Ty... try not to get allergies from the flowers. (wink).

Chris

Chris,

Works for me. :)

Regards,

Ty Ford

Ty-

Based on the solid and straightforward advice above, I bought your book. I have high hopes. :)

Quick question. Would you really use Sanken CS-3e mics in the wilds of Africa, (or anywhere near rain and humidity for that matter without Loss and Damage insurance?) Would there be a solid budget minded alternative that you could recmd for the shots in torrential downpours?

Thanks

R. L. Appling

ego, civility, reality...

Pick any two.

aww man, i wish i could afford that mic Ty, but that's way out of my budget.

Basically my rig is a Canon A1 & Sony FX1 (w/xlr adapter), Azden MX20 Field Mixer (2 channel), Sennheiser ME66 shotgun (w/boom kit), Audio-Technica AT897 (on-cam for FX1, aka backup), & a Azden Wireless Lav (dunno which model).

I will be out filming a lot in the countryside of Vietnam, kinda like the boonies, pretty far from the horrendous city noise. If that might help clarify things for more input & advice.

But i will be in those cities for some parts of the trip as well, where i think it might be a good investment into another lav mic or two for assurance.

We'll be "run and gun" most of the time, but there will be our share of sit down interviews as well. Could anyone recommend an affordable wireless lav, or maybe one that has 2 channels/2 transmitters.

What are your thoughts on those wired lav mics as well?

Audio Technica 1800.

2 xmitters double receiver

Ty

Ty-
Would you really use Sanken CS-3e mics in the wilds of Africa, (or anywhere near rain and humidity for that matter without Loss and Damage insurance?) Would there be a solid budget minded alternative that you could recmd for the shots in torrential downpours?
Thanks
R. L. Appling

RL:

Accounts (below) seem to differ from ramps, even when it comes to the 416, which many believe is bullet proof. My choice was based on not hearing anything particularly bad about the CS-3e in harsh conditions and that it is a versatile mic capable of good results for both interior and exterior shooting. Apparently some, but not all have and the data are not consistent.

An MKH 60 with full kit would be a good alternate choice.

Regards,

Ty Ford


------------------

i had my cs-3e in the rain forrest for a couple of days, full rycote (light foam, basket, fleece, fur) and it got wet. i didn't need it much until the end of the day, at which point it started to crackle, so i unplugged it and put it down for the day. i dried it out the best i could in a warm dry hotel room. very unscientifically, it seems to have gone downhill ever since. it started to sound really dull, muddy, not what i'd come to expect from it, but gradually. i recently had it back out in costa rica (high humidity) last month and it really didn't sound right. no crackling, but it just lost it's magic to put it mildly. i'm not sure if it was already head downhill before the first time it got wet, but i'm sure it's never been the same since.

interestingly, when i took it to get serviced, the technician said he compared it to one they had in rentals, only to notice it had the same or similar problem.

i'm curious to hear others experience.
--------

Alright I would say but not great...It does exhibit some strange artifacts in the sound.....very faint fuzz crackling noise. I used it till begins to act up and then switch to my Mkh 60 which I never had problems with in tropical humid rainy climates.Not all of them do this....I have feedback from about 20 soundrecordists at the network ,they all have CS-3e's ...not all of them have complained about this type of problem ( actually just a couple of guys )...so , some CS-3e's seem to handle it ''better '' than others. Mine comes back to normal behaviour after 24 hours or so in a normal temp room and away from the rain or very high humdity . Regards.
--------------------
I've found the CS-3e to be a pretty fragile mic...it doesn't seem to do too well in very hot, very cold, or very wet. It's also as susceptible to RF interference as anything else. If you're going to the tropics, I'd highly recommend taking a Sennheiser mic with you. I haven't tried the new small ones, but the MKH- series seems to be almost as venerable as a Nagra in adverse conditions. The comparison between the Sennheisers' durability and immunity to RF problems and humidity problems and the general competiton's (Schoeps, Sanken, Neumann etc) isn't even close, in my experience (and I've got some of them all).
-----------------------------

To the tropics with two 416s. You'll want a spare even though they rarely break down.

--------------------------

I did a ten day trek across the Gran Sabana in Venezuela during the rainy season last year. I took a CS-3e and a 416. Surprisingly the 416 died about an hour into the shoot, during the first of many heavy storms, at which point I changed over to the CS-3e which I used for the remainder of the trip with no problem. The 416 came back to life after it had dried out but I stuck with the CS-3e and it served me well for the remainder of the trip. On the last day of shooting we were drenched by a proper tropical rainstorm for four or five hours and the Sanken survived. I had the 416 checked out when I got home and the engineer couldn't find anything wrong with it, needless to say it's been fine ever since, although it hasn't been as wet.
---------------------------

Kevin,
Curious to know why you are hiring a sound guy with no location audio experience. Studio work is so different as to be almost totally unrelated to location sound. The tools and techniques are just so different. What about your other sound guy? Is he experienced?

Rycote make something called the Duck, a long "rain hat" for your mic's fluffy windshield. Has anyone tried it? If so, how effectively does it mute rain that actually hits itself?

Marco,

The reason why i hired a sound guy with no location audio experience is because he's free. My other sound guy is my cousin, but he doens't come on the trip until 2 weeks later.

I work with a non-profit organization, and so my entire crew are volunteers, I'm still in college, and the organization is donor based, which doesn't add up to a lot of spending money to hire a professional.

We plan to do a lot of narrative voice over as well in post which should cover a lot of things up. We are also trying to stay as low-profile as possible, so we will probably end up using a lot of mounted shotguns to the cam, as well as lavs, the boom will only be used when the situation allows.

Anytime something like a small video camera is brought into Vietnam, the kids out there become so fascinated by the device, and just want to see what i see, so then you have 10-20 kids surrounding you. But hey, it's all about the kids in the first place so, i think it should work out fine.

Nonetheless, i'm very excited to be a part of this project, it's my first big thing. :)

I work with a non-profit organization, and so my entire crew are volunteers, I'm still in college, and the organization is donor based, which doesn't add up to a lot of spending money to hire a professional.

Kevin,

Not sniping here, but I have to ask the question. In the non-profit, do the executive staff get paid?

I ask because a lot of us get hit on to lower or donate what we do by people representing non-profit organizations. When we find out how much the CEO makes, working for free seems very strange.

Regards,

Ty Ford

A couple of years ago I heard a presentation by a well known NLE company executive. During the time he used some examples from his very successful video business which he has to have.

One of his rules was to charge more than his competition and put out a better product. He suggested making an alliance with an alliance with a lower cost but competent videographer to send clients to who didn't want to pay his price.

One other thing I remember was that he said a large part of his business came from non-profit organizations. They paid him very well.

However, everything has its context. The opportunity to do the documentary in Vietnam at this stage of a career, may be its own reward and pay off in other ways besides money. But it should also be said that this is not an approach that works out on a long term basis.

I think one secret is to figure out exactly what you are able to do well given all your parameters, and then stay within the limits of what you can do well. An inferior job, no matter how good the intentions, is never acceptable.

With a documentary it is very possible to do professional and exceptional work inexpensively and simply. However, to achieve this it is necessary to understand the limitations and how to exploit the strengths.

Jack,

Your response makes me very concerned. We are agreeing on way too much.

Can the end of the earth be far away?

Regards,

Ty Ford

Ty,

To answer your question if the executives get paid, the answer is no.
They all work between their own normal jobs and the organization. They are just a group of very dedicated people who are pretty passionate about the things that ICAN does. It has to do a lot with bridging the generation/cultural gap between my parents generation from Vietnam, and my generation who are born in the states.

Jack,
I will keep that advice very close, you are right, i cannot try to go beyond what i cannot handle.

Anywhoo,

I've been with this organization since it began 7 years ago, I started off just doing photography for their annual concerts.

I got this gig because back in december, i made a short video for one of the programs that they run locally. It was very rough, and I just shot this on a dv cam with one lav mic, and clipped 8hrs of interviews on various topics to meld into the subject, i had only a few b-roll that i shot myself, and some from older "home video" footage. Here it is: http://www.ccintegration.com/ican/ICANH5.wmv
Given the fact that it might look okay compared to the new hdv cams and is kind of cheesy, people liked it, the program got much more support the community, and more people involved within it.

If i was to reshoot that whole thing now, it would be much better with all the new experience i have acquired over the past few months filming other documentaries with my new gear, and shooting my 16mm projects which is freakin awesome to have these old school hunks of metal in my hand.

Every year in the summer, a small group from the organization travels back to follow up and seek out new programs to sponsor and support, so i decided to take the concept to make a short doc for each program to substitute for written information on those programs. To make a feature length documentary is actually my own project on the side, that part is more about the journey, and my crew getting engaged with the people, the surroundings, the culture, and traditions over there. While i'm there might as well keep the tapes rolling. It's just a chance for me to make something more while i'm already there, and get that additional experience.


In the end the equipment that was purchases that we raised is mine as a substitute for pay :D Then I can make more films, Happy Days!

So we raised enough to buy all the audio gear, and accessories which in the end will be mine as a substitute for pay :D Then I can make more films, Happy Days!

That'll work!

Regards,

Ty

Jack,

Your response makes me very concerned. We are agreeing on way too much.

Can the end of the earth be far away?

Regards,

Ty Ford

Not to worry. I'll film it and you can announce. Great team! Or has this one been done before?

Kevin, sounds like you've got a good deal going.

Content is king and story's the thing. I just read an article about Ironman that said they reigned in the cinematography and the special effects in favor of the story. And the film's doing quite well.

The fact that your doing something that has personal meaning can be very helpful.

To me the best audio and picture is that which does not attract attention to itself, either negatively or positively. The more transparent the better.

Looking forward to see your results!

Hey Ty - that book of yours? Da Bomb. I saw the Reality & the Civility - I didn't see any Ego - just darn good advice in a tight little pocket book. Keeping this with my HVX Bible - and yeah... It's that good. Thankx!

R. L. Appling

R. L..

Thanks a bunch! That'll keep me flyin' as I head out to the SuperFresh to do the weekly shopping. I'm all a flutter. :)

May I use any or all of your post up on my website?

Regards,

Ty Ford

Okay - I'm buying the MKH 60. I listened to the samples on the web and one post was just great where it demoed just how rich and exciting the sound could be - like an "Action Movie" I think the reviewer claimed - I agree. Thats going on the boom.

I bought a Rode NTG1 for mounting on the HVX (which has got to be better than the sound Panny provides)

Also - for the dedicated sound techs (TY & David) when a producer owns his own gear what reduction in day rates (if any) should be expected? I have been quoted a price of $450 day w gear. But what is reasonable with my own?

And yes - if it helps - feel free to use the compliment Ty, anyway you like for promotional purposes.

Okay - I'm buying the MKH 60. I listened to the samples on the web and one post was just great where it demoed just how rich and exciting the sound could be - like an "Action Movie" I think the reviewer claimed - I agree. Thats going on the boom.

>>>>> You made a good choice.

I bought a Rode NTG1 for mounting on the HVX (which has got to be better than the sound Panny provides)

Also - for the dedicated sound techs (TY & David) when a producer owns his own gear what reduction in day rates (if any) should be expected? I have been quoted a price of $450 day w gear. But what is reasonable with my own?

$450 for an 8? a 10? a 12?, you buying lunch - and not just pizza or "health bars"? dinner afterwards? In what city? How much travel do I need to do to get there?


>>>>> No reduction for me. I'd usually rather use my own gear anyway. I know it and I know it works. Sometimes we combine mine and their gear (if they have any) and if it makes for better sound. I turned down a paid audio job for a friend last year because he wanted me to use his gear (and it was a 6AM call that I would have had to leave the house by 4AM for) At that hour, trying to work with gear you don't know is a recipe for problems, even if it does work well. I always use my gear when I work for one PBS client, even though they have gear, because theirs is sort of beat up.

And yes - if it helps - feel free to use the compliment Ty, anyway you like for promotional purposes.

I like the MKH-60 a lot.

It is my preferred mic for outdoor locations.

For indoors, in a reflective room, I will use the Schoeps CMC-641.

The MKH-60 has a built-in infrasonic filter which helps a lot.

I do not have to worry about handling noise as much with the MKH-60 as I do with the CMC-641.

But remember, one single mic is not going to be the best for all situations.

What is great about the MKH-60 is that it excels in many situations.

You made a great choice.