Sound Gear Setup, Power and Wireless — Sound Bag, Gain Staging, Track Layout and Batteries

Production sound gear usually lives in one bag worn by the production sound mixer. Because you have to move with the boom operator, pack it to be light, tangle-free and usable with one hand.

• Recorder and mixer — Takes several mics, records each to its own track and blends them. Some setups use a single combined unit, others use separate units.
• Wireless receivers — Mount them on the side or front of the bag, with antennas above the bag so nothing blocks them.
• Power — Distributing power from one large battery to the recorder and receivers means fewer battery changes.
• Headphones and comms — Bring headphones for the mixer, a feed to send sound to the boom operator and a walkie for talking to the ADs.
• Spares — Keep short cables, recording cards, batteries and lav mounting tape in bag pockets where you can grab them fast.

Gain staging means keeping a suitable level at every stage the signal passes through. Record too low at the input and background noise rises however much you boost later; record too hot and the distortion stays no matter how much you turn it down afterward. So set the input gain while listening to the loudest line in rehearsal, and use the faders during the take to balance the mics.

It’s best not to change the track order for the whole project. Set rules like “the boom is always on the same number,” even when the cast changes, and post won’t get confused and the track field in the sound report gets shorter too.

1. 01Scan on locationUse the receiver’s scan function to see which frequencies are already in use at the location and find clear channels. Scan again when you change locations.
2. 02Pick from a channel groupRunning several transmitters together can create new interference as frequencies mix. It’s safer to pick from the channel groups the manufacturer has coordinated to work together.
3. 03Label everythingGive the transmitter, receiver and track the same character name, and write the channels down in a table. Never put two transmitters on the same channel.
4. 04Walk testCarry the transmitter to the farthest point of the actors’ blocking and behind walls, and listen for dropouts.

The wireless bands you may use are set by each country, so use gear and bands that are licensed where you shoot, and check your local regulator. Folding a transmitter antenna or pressing it against the body weakens the signal, so mount it straight, and keep receiver antennas away from metal and other transmitters.

• Keep charged and used batteries in separate, clearly labeled containers.
• Write down when you swapped transmitter batteries, and swap early during breaks like meals and company moves.
• Match the battery type in the device settings so the battery meter reads accurately.
• Before the shoot, confirm the recorder’s main power can be swapped without cutting out.
• At the end of the day, put every battery on a charger and count that none are missing.

Send the recorder’s mix to camera by cable or wireless, and editors can watch footage with sound before syncing the recorder files, which also helps check sync. If the recorder output and camera input aren’t matched in level type (mic or line), the sound goes in distorted or too quiet, so check the camera-side level together before the first take.

• Fixed volume — Keep your headphone volume at the same setting so you have a reference for judging loud and quiet by ear.
• Listen one at a time — Solo the boom and the lavs to find rustle and dropouts. Mixing them can thin the tone because of arrival-time differences, so listen to them together too.
• For the boom operator too — The boom operator needs to hear their own mic to correct the aim themselves.
• Protect your ears — Listening loud for long tires your ears and clouds your judgment. Turn it up only as much as you need.