AUDIO EQUIPMENT

Audio
equipment

I have several sound recorders. I provide my clients with both 24-bit & 32-bit files. I own a variety of microphones with different polar patterns to always match the existing acoustic conditions and technical requirements of each production.

I have several sound recorders. I provide my clients with both 24-bit & 32-bit files. I own a variety of microphones with different polar patterns to always match the existing acoustic conditions and technical requirements of each production.

A shotgun condenser microphone placed on a boom is absolutely the best solution in the film industry whenever the frame allows for it. Whether it’s an advertisement or a documentary, I always opt for a high-quality directional condenser microphone as my first choice without hesitation.

My client is unaware that when I choose a microphone on set, I’m influencing their sound post-production costs & the duration of the sound editing process.

The solution of concealing a microphone underneath the actor’s clothing is less effective & often troublesome. However, it is frequently the only option. Lavalier microphones are typically omnidirectional in character. Proper placement & professional mounting allow for very good results, but the sonic quality of such audio recordings can never match the results I achieve using directional condenser microphones.

Audio recorders are devices that capture sound outgoing from microphones. They power condenser microphones by polarizing their capsules. Professional microphones require professional recording equipment. My Sound Devices units are analog-digital centers that not only record sound but also distribute it for monitoring by the director or the so-called client.

Here, I have the ability to monitor the sound from individual microphones, allowing me to select & choose the audio signal I want to send to my headphones. The recordings are saved on two memory cards and an SSD hard drive. I highly prioritize data security.

TC – timecode, is an absolutely essential operation for synchronizing audio with video. I use reliable devices from Tentacle Sync, which generate a time signal for all my digital audio equipment as well as for the cameras I’m working with at the moment. The synchronization service is a complementary aspect of my audio recording process.

Wireless transmitters send the audio from the mics to my recording system. I have been loyal to the reliable German solutions from Sennheiser for 20 years, and for just a few years now, I also use the Italian Wisycom. Although both systems differ greatly, they complement each other on my sets. Each system offers a set of features that perfectly match the specific needs of my clients.

Tentacle TrackE is a brilliant audio recorder with embedded TC metadata, easy to conceal in situations where the subject moves far away — riding a bike, driving a car, or soaring in a glider. It’s also an excellent solution for underground recordings — I hide the TrackE in my actors’ helmets. The microphone is cleverly mounted above the actor’s head, making it easy to conceal from the camera lens. I can record continuously with these devices for up to 12 hours. I’ve tested them on many sets, including several mines.

Concealing microphones is a specialized area of work on a film set. Whether I’m working on a small internet production, a large documentary film, or an advertisement, professional concealment of microphones or wireless transmitters is made possible in my company thanks to solutions from Viviana Sound Solution, Ursa Straps, and Hide-A-mic. These are absolutely the top gadgets in the world — accessories for ties, bras, buttons, hypoallergenic strips resistant to moisture. Belts, straps, gaskets, and pockets for transmitters… I select each of these solutions appropriately to suit the specific situation.

A frequency analyzer is a small, clever device that analyzes electromagnetic waves at the location where I want to run my wireless microphones. Thanks to its informations, I know which frequency the DVB-T transmitter or mobile phone is operating on. This gives me crucial knowledge about which frequencies I can use. It’s a somewhat forgotten & underrated device, but I never part with it.

Shockmounts for directional microphones are designed to absorb boom movements, reduce unwanted sounds, and protect condenser microphones from wind gusts. They are perhaps the most recognizable attribute of any sound engineer, regardless of whether one considers themselves a professional or simply aspires to be one. In my dzwiekwfilmie.pl, solutions from the British company – Rycote are leading the way.

Directional condenser microphones on goosenecks — a solution well-known from recording wind or string instruments. I occasionally use this setup to record dialogue while driving. A brilliant solution by the Danish company DPA, combined with the German-made Tentacle, allows me to create an exceptionally compact recording kit that fits easily, for example, in a car’s sun visor or behind the rearview mirror.

For receiving wireless signals from miniature transmitters, I use a setup consisting of two Wisycom antennas — one directional & one omnidirectional. This duo is extremely resistant to interference & works perfectly where distance matters. Each antenna has its own amplifier and an active filter with variable characteristics. This allows me to select a narrow frequency band that will reach the receiver. The secret behind excellent range.

The Wisycom MCR54 receiver is now a standard solution, even though it is relatively new on the market. It’s a single box with 4 channels. It offers incredible flexibility, high quality, and easy configuration — especially on large sets where multiple receivers may be in use, sometimes dozens. I can easily configure & monitor the parameters of this receiver remotely via a mobile app on my phone.