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What is the Most Compact, LIGHTEST gear you can get (for all production purposes)
Old 2 weeks ago
  #1
Here for the gear
 

What is the Most Compact, LIGHTEST gear you can get (for all production purposes)

Most compact and LIGHTEST.
Mixing, Production, Tracking, Live Installation, Global Mobility.

Go!
Old 2 weeks ago
  #2
Gear Maniac
MOTU AVB stagebox and interfaces.
IK iloud MTM speakers.
Old 2 weeks ago
  #3
Lives for gear
 
hbphotoav's Avatar
 

That seems a poorly defined target, with a really fuzzy purpose. So... "It depends."

Were I to want to go afield for stereo location recordings of acoustic music out of a backpack, I'd opt for a Sound Devices MixPre3 (or 6, or 10), a pair of MKH8040 (and a pair of DPA4061s, and a MKH8060), and a pair of Sony cans. I'd also likely take a compact, lightweight 5- or 6-stage folding tripod stand and a K&M stereo bar, a Mac Book Pro, back-up SSDs, two 50' mic cables, two 20' mic cables, one lightweight 50' power cable, several SDHC cards, a couple of AC-USB and LiPo-USB power supplies, and some AC power adapters.

For tracking, I'd want about a van-load of stuff.

HB
Old 2 weeks ago
  #4
Here for the gear
 

In my case I move house around the world a lot, and I have to consider jet fuel and airline weight. So I am mostly thinking awfully minimal.

I like the sound of this: K&M stereo bar
and this: Sound Devices MixPre3 (or 6, or 10)

on the recording end.
Old 2 weeks ago
  #5
Lives for gear
 

You need to provide more info: how many inputs do you need, etc.

For super compact and lightweight, if you can get by with just two mic inputs, get the Sonosax M2D2 and an iPhone or iPad. You can record pristine audio on the phone from the Sonosax and then edit and mix it using Auria Pro. What exactly do you mean by "live installation?"
Old 2 weeks ago
  #6
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Quote:
Originally Posted by tenagasuryafisk View Post
In my case I move house around the world a lot, and I have to consider jet fuel and airline weight. So I am mostly thinking awfully minimal.

I like the sound of this: K&M stereo bar
and this: Sound Devices MixPre3 (or 6, or 10)

on the recording end.
Instead of buying stuff and carrying it rent or borrow whatever else you need where ever you are, especially speaker systems, consoles, cables, stands, instruments.
Old 2 weeks ago
  #7
Lives for gear
 

Two DPA 4060's plugged into a couple of these, on a carbon fibre pole.
Old 2 weeks ago
  #8
Gear Nut
 

Credit card!!
Old 2 weeks ago
  #9
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boojum's Avatar
Isn't it ghastly when a forgotten voice pops up? Reaching way back into the gear bucket I dig around and find, wait, what is it, whoa, it's a SONY Hi-MD MZ-RH1! Fits in a shirt pocket, records linear PCM at 44.1 kHz 16 bit with a stated 20 - 20kHz frequency range. Add a pair of DPA 4061's - I like the extra protection from very loud noises - and the recorder and mics fit into your shirt pocket with room to spare. If you are nervous, and aren't we all, there is the power supply to go into the wall. If you want to trust SONY you have 5 to 6 hours recording linear PCM at the 44.1 khz rate 16 bit rate. I have not tested this rig in years but now I just may have to.

Goodness knows we all have plenty of time now to work on stuff at home and test gear. The output WAV files can be transferred to the computer using SONY software for mixing in any DAW.
Old 2 weeks ago
  #10
Lives for gear
Quote:
Originally Posted by David Spearritt View Post
Two DPA 4060's plugged into a couple of these, on a carbon fibre pole.
WTF is a Sound Grip ?
Surely Lost in Translation.
Old 2 weeks ago
  #11
Lives for gear
Quote:
Originally Posted by boojum View Post
Isn't it ghastly when a forgotten voice pops up? Reaching way back into the gear bucket I dig around and find, wait, what is it, whoa, it's a SONY Hi-MD MZ-RH1! Fits in a shirt pocket, records linear PCM at 44.1 kHz 16 bit with a stated 20 - 20kHz frequency range. Add a pair of DPA 4061's - I like the extra protection from very loud noises - and the recorder and mics fit into your shirt pocket with room to spare. If you are nervous, and aren't we all, there is the power supply to go into the wall. If you want to trust SONY you have 5 to 6 hours recording linear PCM at the 44.1 khz rate 16 bit rate. I have not tested this rig in years but now I just may have to.

Goodness knows we all have plenty of time now to work on stuff at home and test gear. The output WAV files can be transferred to the computer using SONY software for mixing in any DAW.
I used that MiniDisc recorder from post university days...it could record an insane number of hours material (at a lowly compression rate, sub mp3 !) or around 1-2 hours uncompressed. Pretty rugged little machine, the Walkman for the next generation ! Not sure how good the A-D section was, but I recall being astonished (as a cassette kind of guy) at the lack of hiss ! For me it was "Welcome to post-DAT digital" !
https://walkmancentral.com/products/mz-rh1
Old 2 weeks ago
  #12
Lives for gear
 

- used to be sanken cos-11 and fostex dat for years...
- dpa clip mics and mmaa 'interface'
- new schoeps cmc-1 if not using ccm mics anyway
- rode wireless go on some occasions
Old 2 weeks ago
  #13
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tourtelot's Avatar
Quote:
Originally Posted by Rolo 46 View Post
WTF is a Sound Grip ?
Surely Lost in Translation.
He's the one that carries the sound-bags of course. Duh!

D.
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Old 2 weeks ago
  #14
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hbphotoav's Avatar
 

I was reminded by Boojum about my particular "minimalist" setup... a Roland R09HR "shaver" with a RODE NT4. It's not clandestine... but it is simple and tidy. I didn't mention it because of the "tracking" element in the original post. The R09 dates from its release (2008 or so); likewise the NT4 (2002). R09HR currently gets regular use as a console-fed MP3 recorder for my business meeting clients, and the NT4 is my favorite simple stereo overhead drum kit mic... often deployed on well-tuned and -played kits in a 2-mic (NT4 OH, D6 or D-112 Kick) setup.

Still, in all... If I was buying today, the aforementioned MixPre6 and Sennheisers would be my choice.

HB
Old 2 weeks ago
  #15
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tourtelot's Avatar
Oh and BTW, there were (maybe still are) grips that were assigned to the sound department. So, in fact, Sound Grips. Their specific job was to wheel the Fisher booms into place on a studio set. They only did (do) that job and they are considered a member of the sound department even as they come from the grip department.

I actually filled in for a few days operating a Fisher boom on the Sesame Street sets many, many years ago. I had a grip on my boom. Also a Sennheiser MKH816 (a rare mic to place on an interior boom even then) merely to allow for the headroom that was necessary to keep Big Bird in the shot and get the dialog of characters that were, perhaps, a whole foot deeper in that frame. You can't make this stuff up.

D.
Old 2 weeks ago
  #16
Lives for gear
I used to operate a MKH 815 on a Mini Fisher on Colditz the BBC POW series
Shot at Ealing Film Studios
The main set was the castle and keep ,rigged with 30x 10 ks..
Shadow hell.
Had to stay well back, hence the 815.
Old 2 weeks ago
  #17
Lives for gear
Each input will cost some kind of mic, preamp and converter.
How many inputs do you need at once? Are you going to record drum sets?

This question is the core to the issue.
Old 2 weeks ago
  #18
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Quote:
Originally Posted by elegentdrum View Post
This question is the core to the issue.
The question is far too open-ended and non-specific...as if one rig could suit all those scenarios ? The question is in the wrong forum...if it even belongs on GS at all
Old 17 hours ago
  #19
Here for the gear
 

This was not a thread about giving me specific suggestions for buying a setup, or for any specific production purpose. The idea is just to consider which gear that is light and compact, while ideally retaining high quality, is currently available on the market.
Old 14 hours ago
  #20
Gear Addict
 
lukedamrosch's Avatar
 

Quote:
Originally Posted by tenagasuryafisk View Post
The idea is just to consider which gear that is light and compact, while ideally retaining high quality, is currently available on the market.
Regarding stands, it would be hard to do better than Manfrotto with these criteria in mind.

Model 1004BAC is a perennial standby, and if you don't need something very high (e.g. for a small field recording rig or certain spot mic placements) the 4 foot model 156BLB is extremely useful and incredibly light at well below 2 pounds.

If you are not already aware, keep in mind that Manfrotto's market is primarily lighting and camera for film/TV, so you will often need adapters to interface their stands with typical microphone mounting equipment. These are small and inexpensive.
Old 11 hours ago
  #21
Lives for gear
Quote:
Originally Posted by tenagasuryafisk View Post
This was not a thread about giving me specific suggestions for buying a setup, or for any specific production purpose. The idea is just to consider which gear that is light and compact, while ideally retaining high quality, is currently available on the market.
Then the correct answer is “virtual gear”.

Please send winner’s check to:
Captain Irrelevant
000 Worsethan Rode
Point Less, Mini Scotia, 01234
Old 11 hours ago
  #22
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Plush's Avatar
Professional Minidisc
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