[Brian Reynolds]

I have just found this info for the Sennheiser G3 setup that might be useful to this thread.

https://www.bhphotovideo.com/indepth/audio/hands-reviews/sennheiser-ew-100-g3-wireless-mics-how-scan-frequencies-and-set-levels

[Brian Reynolds]

OK… now this would be MY personal choice for your request ‘A BASE level kit’ (others may choose differently)

Mixer… SD302 or Shure FP33 with a portabrace or similar case / bag [the 302 uses AA batteries the FP33 uses 9v batteries) [If its the same as the radio mics you will only need one type of battery]
Radio mics… 2x Sennheiser EW112P G3 sets [frequency suitable to your location] with ME2 OMNI mics
Boom Pole… Rode boom pole
Boom Mic… Rode NTG3 or Sennheiser 416 [caution some 416’s on eBay claim to be ‘ex demo’ mics but are cheap chinese copies… DO NOT TOUCH]
As an alternative to the NTG3 [but not as good] the Rode NTG2 being battery / phantom powered it could be plugged into a Senni TX [with the right cable]
Shock mount….Rycote Lyre shock mount. [InVision INV-7]
Blimp…A Rode WS6 / WS7 [depending on the mic] You won’t need a full cage blimp.
Hypercardioid mic… for indoor shooting [Samson CO2]
Recorder.. Tascam DR-100 mk2 or the new Zoom recorder [must have XLR’s in] the H4n is several years old in design now but still just workable.
Breakaway Cable…. to connect to cameras with return audio for monitoring.
Headphones…. Sennheiser HD 280 or HD25 II or Sony MDR 7506
A couple of xlr-xlr cables.

This should be regarded as the MINIMUM base level kit…..

[Brian Reynolds]

It all depends on the work you intend to do…..And do you want to earn an income?
News work would be OK with a 3 channel, 2x radio mics, boom & Mic, reporter hand mic, breakaway cable, camera links? (but these days rarely use a sound person)

Current Affairs go with 4 channel mixer, 3 radio mics, boom & Mic, breakaway cable.
Both of those situations it would be rare to need or use a recorder.

SNG / ENG add in some ‘in ear monitoring’ (comtek etc)

Also note for the above that most TV networks tend to use their own crews and rarely use freelancers.

TV commercial production probably 2x high quality radio mics, boom & Mic with C-stand, recorder (with timecode).

Reality TV multi track recorder (with 6-8 tracks & timecode), lots of radio mics, boom and mic, camera links?

Documentary / Industrial a basic news kit would be OK add a recorder if the camera being used is DSLR.

Student films, Cheap mixer, cheap boom and mic, a couple of cheap radio mics and a cheap recorder. BUT it will be unlikely you will ever be used on professional jobs, I doubt that the earning capabilities of the gear would pay for your investment within 2 years.

Sorry but I’m not into giving false hopes….

[Brian Reynolds]

Yes put a fresh AA battery in the mic(don’t assume the battery is ok)…. and ALSO run the mic on phantom power.

Yes pushing the gain VERY high on ANY mixer will give you hiss.
Are you able to try the problem mic on any other piece of gear or even a different channel? Are you able to try another mic into the 302 just for a check and reference level.

[Brian Reynolds]

Try changing the AA battery, many mics that use the internal battery to make them work properly despite running on phantom power. Also check the battery terminals for signs of corrosion.
Ie; I know some of the Sony ECM(various models) lapel mics and some of the Rode mics need the battery to function.

[Brian Reynolds]

Radio mics by what they are, are less than perfect, a piece of cable will ALWAYS work better. Like most things in life the more money you spend the better they are…

So to get the best signal / noise of a system it needs to be set up correctly, If the TX (transmitter) is set to low the gain needs to be made up elsewhere like at the RX (receiver) or recorder or post production but by doing it that way it also brings up background noise (like RF interference from other things like fluro lights, mobile phones/ devices, electric motors etc). With a poor gain structure like that it will limit the usable distance you would get from a radio mic system.
While in bench testing you might be able to lower the TX input by say 10db and raise the RX output by a similar 10 db and everything seems ok but the background noise has also been raised 10db. And if by chance the tallent is quietly spoken and the level needs to be raised in post production then you have a ‘HISS’ problem, recording to a DSLR just compounds the problem even more.

The reason I mention the ‘Mono’ thing is on this and other forums there are often questions asked about putting a mono signal into a stereo input of the DSLR, if an incorrectly wired cable (and most off the shelf cables seem to be) there will be a 180 deg phase cancellation in the camera, you may not pick it up in editing and listening in stereo but in mono you have problems (like youtube, mobile phone etc)

[Brian Reynolds]

I was actually trying to get the OP to work through the steps and not get hung up on numbers.
I know some people that are SO pedantic about numbers and will set things ‘because thats what someone has said’ rather than actually using the item to the best of its ability.

[Brian Reynolds]

Have we reached a point in time where it’s ‘audio by numbers’ ?
You would set the TX level to match the talents speaking level and the position of the mic placement (it’s in the manual how to do it) then set the RX level to suit the output level required.
By just quoting numbers sets up a world for the non thinking.
If you are using a DSLR to record on make sure and check it will play back in mono ok …… Many set ups have phase cancellation problems.

[Brian Reynolds]

The change of delivering product is changing rapidly, things like YouTube, LIVE video streaming or similar are an outlet for productions….. Some will give you an income many won’t.
You can’t pay the supermarket, the home loan, the childrens schooling etc with promises of deferred payments or credits on productions.
Many people have borrowed money to purchase audio gear to earn an income yet producers want more and more technology but prepared only to pay less and less.
Your original posting was to seek a Sound Mentor, good luck to you in your desires but be mindful it might be rare to find someone to help you.

I agreee there is nothing better than getting up in the morning to go to employment you are passionate about and enjoy.

Just a last piece of advice use YouTube to learn how to solder and make audio cables…. It will become invaluable beyond belief and save you lots of money in the long run.

[Brian Reynolds]

There you go….. Looks like the low rates have hit London as well.

Sound Technician –
Employer: InterLinkingProduction
Location: London and surrounding countie [view map]
Duration: Upto a year, starts Straight Away

Payment is on a lo/no/deferred basis. [note on unpaid jobs]
ILM are looking for a Sound Tech with own equipment for a new Reality TV series.You must be able to work well as part of an established team. Everything is ready and the cast and crew are filled, great original concept and we are ready to film the pilot.
MUST have own equipment from booms to radio mics..
To work alongside our head of sound..
This will be unpaid for the first two episodes. Travel expenses will be provided. Once this is commissioned ( and there is much interest from big channels already) this will be a fully paid permanent role. Also consider there are plans to take this to LA next year. Please email with a cover letter to the team at Almost

Apply to: christiana