The Art of Audio at ARC, Part 3: Accessories

Posted in Video by atifhashmi on April 22, 2011

In our first two posts on sound recording, we covered recorders and mixers and mics and lavs. Now we’ll cover the humble but essential accessories in a sound engineers toolkit.

Boom poles are an essential part of a filmmaker’s kit, as they are the most common tool combined with shot-gun mic and XLR cable for capturing professional quality sound. Adorama has a few choices available, most of which are made with shotgun mount and provide enough extension for most situations. major tip for boom operators, try holding the boom along your back, like a staff with both arms gripping the ends using your neck as the fulcrum. This will allow for less fatigue during long takes, help with balance, and lessen handling noise (noise caused by boom operators movement on the pole picked up by the mic).

GITZO Mic Boom
An all around solid boom pole, good for interiors and light enough to be used all day with proper operation and little fatigue. Comes with shock-mount

BOGEN Super Boom
A great boom pole for larger setups when performers are at a distance. Much lighter than Gitzo boom. Comes with shock-mount

Bogen Super Boom

K-TEK Boom Pole
Solid pole with standard length and grips for loosening and tightening. Simple design. Comes with shock-mount

Sennheiser HD280 Headphones

For the sound recorder, being on set means being able to record and register quality sound onset at the time of recording, to prevent discontinuity in the final product and to allow the story to be told in a clear and digestible fashion. To do this, they require the use of high-quality headphones, so that the difference between the sound being heard onset and that of the actual sound file is minimal (keep in mind that most headphones have to use a compressed version of the sound file and therefore we hear a lesser quality version based on the quality of the phones).

Sennheiser HD280 Pro Headphones
Sennheiser’s best must mean something. Incredibly durable, with a ultra-wide frequency response of 8Hz to 25kHz.

So there you have it, By simply considering the above information you will be well on your way to understanding the basics of Adorama video sound recording. One last bit of advice, always remember to hit record. Everything else is cake.


Atif Hashmi is a filmmaker based in New York City.

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  1. […] death in Libya from a mortar attack this week; Atif Hashmi contributed the third installment on essential sound recording equipment at ARC. And we covered the week’s photo events in New York […]

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