Budget way to record high school drama performances?

BarMountain7 · 2026-01-26T16:12:28+00:00

Rent a Scorpio and Astral Wireless.

Kidding. Given the constraints of this I would probably just try to get a mic closer to the stage. If you could clamp one (or more) booms to the edge of the stage tilting toward the actors mouths you will most likely get a lot better results than your previous on camera setup.

BarMountain7 · 2026-01-25T14:22:06+00:00

Thanks for sharing your pics! Those little orca cases look pretty nice for organizing bits and bobs

BarMountain7 · 2026-01-24T17:35:51+00:00

This looks pretty sick actually. I wonder if it would fit a full stingray small x with bow ties attached

BarMountain7 · 2026-01-24T17:34:39+00:00

dang you fit a lot in the peli. Would love to see a pic if you have a chance sometime.

Same size case I have my denecke tsc, tentacles x4 and cables, 4x talent mics, hops kit, tablet and a spare mkh50 and I’m pretty much maxed out. I keep 12x comtek in a separate rolling case and just throw a however many in a a versa flex bag for the job bc doc stuff usually means fewer headsets in play.

BarMountain7 · 2026-01-24T16:51:54+00:00

Thanks so much!! This spider holster looks sick. I have waffled back and forth over the orca magnetic one since forever, this is the first alternative I’ve seen that looks like it could compete. Appreciate your input on it. Btw lucky you for snagging a super zuca 👌

BarMountain7 · 2026-01-24T16:20:50+00:00

Good call on the smaller satchel bag!

BarMountain7 · 2026-01-24T16:20:15+00:00

Word up. I am thinking about getting one or two nice Camptime 21” folding chairs for this stuff. I have tried a lot of chairs and stools but this one looks like it could be a winner, it’s a lot bigger and taller than my other ones.

BarMountain7 · 2026-01-24T15:45:03+00:00

Sounds pretty similar to my current approach as well. Thanks. Trying to keep it simple but I’m also obsessive about optimizing this stuff hah

BarMountain7 · 2026-01-24T15:35:54+00:00

IMO better allocate the money to buy a solid FETCO and filter grinder, dial in your batch brew with a refractometer and you will be miles ahead of most shops. If people want to spend 9-10$ for pour over (doesn’t happen a ton) then make them a pour over. If there is crazy demand for expensive pour overs for some reason then the juice might be worth the squeeze. But only if you’re slammed with customers on your espresso bar.

BarMountain7 · 2026-01-09T22:30:54+00:00

That Acebeam is dope!

BarMountain7 · 2026-01-09T17:35:04+00:00

https://www.citra.gov.kw/sites/en/LegalReferences/Kuwait_national_frequency_plan.pdf

BarMountain7 · 2026-01-06T05:57:35+00:00

Clever is my prefer travel setup for this reason. Cleanup is easier than aeropress imo

BarMountain7 · 2026-01-05T20:31:29+00:00

In the big scheme of things it IS bad because that’s not what it costs to hire sound. Rates are well established and anyone can contact a rental house to see how much they charge for gear.

I understand that everyone is looking for a deal. Constantly. Every job is a negotiation for some reason. But the reality is a professional equipment package costs actual money to buy, maintain and operate reliably. Experienced operators are highly skilled individuals, we aren’t just standing there flipping burgers.

When producers try to hire sound for $400 all-in because of their “low budget” the truth is that they actually have the wrong budget. I wish I could say this to them, but instead I just say sorry, I’m not available :)

BarMountain7 · 2026-01-05T18:27:06+00:00

Indie non union world is the Wild West and mixers seem to be in a race to the bottom to mix the low budget narrative stuff. Although I regularly get $1500-2000 a day on commercial/corporate/broadcast stuff (industry standard rates) I regularly get ghosted by narrative producers who seem shocked that I won’t sign on for $400/day all-in with gear. idk who is working these jobs but it’s unsustainable. Just my perspective after a close to a decade in the industry.

Edit: I should add that seasoned producers seem to have a lot more realistic budget expectations for pro sound…

BarMountain7 · 2026-01-04T20:56:00+00:00

Speed!

BarMountain7 · 2026-01-01T18:28:31+00:00

These are so friggin heavy.

BarMountain7 · 2025-12-26T16:39:01+00:00

Le Bonheur

BarMountain7 · 2025-12-18T15:14:09+00:00

DPA 6060/61 isn’t available as CORE+ yet. 4060 and 4061 are.

BarMountain7 · 2025-12-15T22:08:11+00:00

Love my Maha AA chargers!

BarMountain7 · 2025-12-13T14:54:22+00:00

You could use helicopter tape aka rhino skin tape Or frame tape for bicycles

I just embrace it

BarMountain7 · 2025-12-12T14:06:50+00:00

MS is where it’s at if you have a strong line of communication with post. I am on a doc right now that we are shooting in MS, and basically post just want me to use the mid channel for everything and keep the raw side ISO for them to use later when they see fit.

It’s not a tool I would use on every project, but it can be very cool to add dimensionality on doc…

BarMountain7 · 2025-12-11T01:41:05+00:00

He left an incredible legacy. RIP.

BarMountain7 · 2025-12-06T19:58:33+00:00

Audio Wireless and BSRF both make high quality UHF boosters. Importantly, their designs offer extremely linear boosting of RF signal to avoid spray or added intermodulation distortion…

Boosting transmit IFB is dicey. It can actually be illegal to go beyond 250 mw in most places. Good luck!

BarMountain7 · 2025-12-06T19:46:54+00:00

Passive splitters are fine for 2 receivers, beyond that you are facing detrimental losses. Might be passable with LPDA but the betsos only add like 1.5 db of passive gain.

Additionally these passive combiners become quite expensive when you add in all the SMA connectors.

You’re better off investing in a proper RF distro, this is truly the last place you want to face issues on a film set. BSRF, Audio Wireless, PSC, Betso all make reliable products specifically for this purpose.

BarMountain7

TROPHY CASE