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Gonzo, that is not a lot to spend on a recorder...and that one is really not a bad machine for the small indie person. only drawback is no timecode, and only records to flash ( no drive to back up). if i were thinking of being a soundperson, this would not be a recorder i would chose to be my...

only element left out here is TimeCode on the external Recorder. Time Code is generated for sound from the recorder, NOT THE CAMERA, never has been. you will need to know what framrate the camera will be running and this will determine the TimeCode you will use in the recorder. you will not...

have to agree with Alcove... i am sure the preamps in this thing are crap and noise in cheap faders, and taking a quick look it is only 44.1 KH at 16bit. i wouldnt touch anything that could not do 48kh/14bit Poly/BWF and at 300. i dont think it can so the things it says it can do with any...

i can not say enough here about having a great Boom Operator. I dont care what equipment you have and how great a mixer you are. if the mic is not there where it needs to be. sound suffers. and not to mention many scenes with multiple actors coming and going in a scene, the boom op becomes a...

well...for cost reasons alone...i would not think of using a nagra...besides trying to get your hands on tape...you are dealing with a 2track Timecode machine. I AM NOT putting down the Nagra...i still have 2 and to this day have not had a machine that sounds as good....oh how i miss analogue...

i couldnt agree more with Alcove Audio....cameras are designed for picture...and even high end...like the Panavision Genisis which we use on the show i am on now...Royal Pains...no one would ever think to use onboard audio from...we dont even send the camera a feed. in my opinion, camera...

all of the above is great advice would only add to cover your transmitters as well with a condom...other than that there is not much more you can do...just be as careful as you can... i have done plenty of rain work and boat work and have lost a few mics along the way...not much you can do but...

Cheap and Good...dont really go together...you get what you pay for. I would look into renting something with the money you are going to spend on buying...also you will more than likely need more than one mic and maybe look ahead at what you are shooting and get specific mics for those days and...

This has been a long time coming for this Subject. I know a lot have asked "Why do I need this??". And many times I have tried to answer your questions, or make everyone understand Time Lines within Time Code and why we use them and the proper way to use them. But in many cases and and newer...

i agree with both....stereo requires 2 tracks...you can not have stereo on one track and that is what it seems you want to do. and i wouldnt record in stereo anyway for dialogue....one for dialogue and one for amb track would be nice...but again...not really a good use for your second track...

All good advice here...but one if i had no other chose because of being lit out of a shot, would i boom from below...if its not in shot...throw a mat under the actors... using a shotgun indoors is never your best chose...there are too many reflections for a shotgun to work indoors...the ports...

a soundmixer is only as good as his Boom Operator. if the mic is not where it should be, the sound will suffer. a good Boom Op will be as close to the frame line as possible at all times...he/she will know the dialoge so he/she can make the cues to the actors before they start to talk....the...

yes you are correct...both video and sound will be in perfect sync and you should use Time of Day code set to Free Run and this is best when recording Longitudinal Time Code. And always use a slate. Timecode slate if you have one and that would have to be set to proper code as well...if not any...

Things to ask when looking to hire a sound person The first thing you want to do is go over your script. Look for scenes that might be difficult, scenes that might have people watching a TV and talking over it, scenes maybe with people talking in a car and maybe listening to music and then...

good idea....going to get to work on these this week when i have some time off...but every project has different needs...so maybe just the basics on this one...

i am not putting down you Edirol....but it just so happens that it is recording in the same time frame as the camera you are using...that is why snyc might not be a problem for you now....but if you were to change the code in you camera and use a differnt timecode from your setup in camera...you...

thats a tough one....as field recorders start around 2500. but thats not to say that you can find a used one that we longer use but are still great machines. i would look into a Dat Machine with timecode. there and many fostex PD2's and 4's out there(the PD4 being my choise of the two). i have...

shock mount i love Wills shockmount and can be made to fit any number of microphones. and is almost the same as the shockmounts is use. for smaller mics you will find just one rubber bacd per end straight accross will work just fine..twisting it around a few time before inserting to mic thru...

Hello, I am Dave Pastecchi a New York soundman since 1977 and local member of IATSE Local 52. I have worked mostly on set since a young boy and most of my experience is with getting locations sound. I do know quite a bit about post and mixing and what can be done to fix problem later. Along...

thanks all congrats WIll and thanks for having me in the group...i will do me best to help anyone out and answer questions and if i cant i will call some friends and get some answers from them to help out as well.