Beginner Sound Guy

S

spyderfx

Hello all,

This is my first time posting here, but I'm glad I found this forum because it seems like a terrific resource.


On to my question. I have been doing quite a bit of research on audio gear. I want to start getting small non-union gigs to supplement my income, gain experience in the field, and hopefully do some good networking.

My budget as of right now is $2000, with a good chance of it being bumped up another 2k in the near future.

For a shotgun mic, I'm pretty set on the Rode NTG-3 for its price:quality ratio. I've read it rivals the MKH416, but that it might not get you as many jobs because it doesn't have the clout the MKH416 does.

What I'm having trouble deciding on is a field recorder. I've pretty much boiled it down between the Edirol R-44 which has the 24-bit/192kHz and 4 XLR inputs. Having 4 XLR's I think might be pretty key.

The other one I'm considering is the Sound Devices 702. I think this would definitely look sexy when people consider hiring me. Only problem is it would eat up my entire budget until I get more money. Could give me some good time to familiarize myself using mics I already have though... right?

Then of course there are the boom poles, cables, etc, etc. The mixer and lavs would have to come later after I've got some small jobs under my belt already.

Also from reading around the boards it seems I'm going to need a hypercardiod mic for indoors. Correct me if I'm wrong on that pick up pattern.

So how does that sound? Would you hire me for say $100-$150/day if that was my gear? Will it last long enough to make back my money? I would also be using it to make my own short films.

Thanks for reading! Hope it isn't too long.
 
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Good choice on the NTG-3. Have one. Like it. A lot.

My equipment budget philosophy is buy fewer pieces of higher quality equipment whenever you can get away with it. For that reason, I would get the 702 rather than the R-44. (Not that I think there's anything wrong with the Edirol - just that I know Sound Devices stuff is really nice.) I also tend toward "higher quality" and "more solid" over "more functionality". Until you get all those lav mics and extra indoor mics, you can probably live without four channels even though they'd be really nice to have.

Sometimes you can't follow the "fewer pieces, higher quality" philosophy though because you just need a fundamental starting level of functionality. Despite their lack of glamour, you really do need a boom pole, cables, windscreen, miscellaneous adapters and stupid crap that costs way too much for what it is. You can't ignore these items in your budget.

With this kit, go after simple film jobs where you can boom and don't need lavs. You might have to a do a few freebies to meet enough people to start pulling in money, but you can make enough money to recoup your investment.

In this business everyone wants to do the glamorous stuff: directing and acting, but if you can do a good job in the technical areas, crew or post, you can always stay busy.
 
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If you want more channels, go with the R-44, if you want to have the prestige of a brand name and be "sexy" go with the 702. Both are nice units.

Personally I would get the Fostex FR2-LE. Besides the NTG-3 you will need a cardioid condensor for indoor usage and a lot of other things like a boom pole, shock mount, wind protection, headphones, cases, and cables. Don't skimp on the case for your field recorder, it will make a huge difference when doing run & gun, etc.

My choices would be the the FR-2LE ($600), a Rode NTG-3 ($700), an Audio-Technica AT4053b ($650) and all of the above accessories. That will eat up all of your $2k and you will probablly need another $500. If you buy everything at once you can probably get a nice package deal from B&H and other vendors.

BTW, Oade brothers does some extremely nice mod work on field recorders; I've heard raves about the FR2 mod. You may also want to check out:

jwsound.net

http://groups.google.com/group/rec.arts.movies.production.sound?hl=en

Both are forums for production sound professionals.
 
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Alcove Audio said:
If you want more channels, go with the R-44, if you want to have the prestige of a brand name and be "sexy" go with the 702. Both are nice units.

Personally I would get the Fostex FR2-LE. Besides the NTG-3 you will need a cardioid condensor for indoor usage and a lot of other things like a boom pole, shock mount, wind protection, headphones, cases, and cables. Don't skimp on the case for your field recorder, it will make a huge difference when doing run & gun, etc.

My choices would be the the FR-2LE ($600), a Rode NTG-3 ($700), an Audio-Technica AT4053b ($650) and all of the above accessories. That will eat up all of your $2k and you will probablly need another $500. If you buy everything at once you can probably get a nice package deal form B&H and other vendors.

BTW, Oade brothers does some extremely nice mod work on field recorders; I've heard raves about the FR2 mod. You may also want to check out:

jwsound.net

http://groups.google.com/group/rec.arts.movies.production.sound?hl=en

Both are forums for production sound professionals.
Click to expand...

Sounds like Alcove Audio has found another disciple! ;) I kid, I kid. I'm trying to learn a lot about sound too, and it already sounds like you know a lot more than me in the technical department! :) I'm just at the level of finding a decent external mic!


BTW, Alcove, you always seem spot on when someone is talking about audio(you're there seemingly instantly)-what do you have hidden in your alcove-a bat-phone(micro-phone?) that dings you? :D I must see your signal light sometime (a speaker maybe?)


Though I poke general fun, I highly respect your sound advice(he). Spyderfx, Alcove is a great sound source (I can't help these puns!) and never seems to run out of answers. I think it's great, and wish I had the "ear" for audio like you do :)
 
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Tina - I pop onto the 'net when waiting for clients, doing back-ups & archiving, etc. I'm just one of those types that always has to be doing something.

Spyder - Take all advice, even mine, with a grain of salt. One of my favorite aphorisms is "Opinions are like a$$holes; everybody has one and they all stink." My bias on a forum like this is bang-for-the-buck, quality, ROI and ease of use. I run my studio on a shoestring and do extensive research before I buy anything. I am fortunate enough to freelance at other facilities so I have the opportunity to use things before I buy them or at least get a feel for the quality of a particular manufacturer.

A few more pieces of advice:

Look for a solid vendor. A long-term relationship can be invaluable in the long run. My vendors were fantastic when it came to replacing receipts and a whole lot of other things when my studio was flooded three years ago (loooooong story). Some vendors will allow you to put some or all of your rental fees towards a purchase. And as a regular customer you can get nice package deals.

Do some exercises to get your arms and shoulders in shape; holding a boom all day ling takes a lot of endurance.
 
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My recordist who had used borrowed/rented gear for my last film finally about two months ago got a Rode, a pole, and a Korg HD field recorder. I think has a little over two grand in the whole setup. It's literally "how much do you WANT to work" because he could be recording a film every weekend (this is the Nashville area). A recordist, with his own gear, can make $150 a day easy, and work as much as he wants, even away from the coasts. Not a TON of money, but you can pay for that gear in just a couple months.
 
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