GETTING MIC’D UP WITH SOUND RECORDIST JOSHUA BAGGET — AudioTechnology
Providing good, clean audio for clients should be first and foremost the goal of every sound recordist. Joshua Bagget of Mic’d Up Productions says that, along with taking pride in your work, it’s essential to select the right equipment to suit each project’s unique needs.
Bagget is a long-time user of Sound Devices and has used the brand in a variety of productions, from documentary work to ENG sports recording.
His first brush with the brand was back in 2005, when he first used the 442 field production mixer. Since then, he’s filled his kit with a number of Sound Devices pieces, including three 788T recorders paired with CL-8 controllers, three 688 mixer/recorders coupled with three SL-6 powering and wireless systems, and one 633 mixer/recorder.
The SL-6 system was developed using something called SuperSlot technology, which is regarded as the industry’s first non-proprietary, open wireless control and interfacing standard. When using the 688 with SL-6, and compatible dual-channel receivers together, production sound mixers have unified powering, fully integrated receiver control and monitoring, audio interconnection, and antenna distribution, all done with less clutter in their bag.
“The first time I used the new 688 with SL-6 was on a shoot for NBC Sports,” says Baggett. “We flew out to Montreal for an interview with José Mourinho, First Team Manager of the English Football Club Chelsea, part of the Barclay’s Premiere League. The product performed flawlessly. Being able to slot my receivers into my SL-6, and have full control of them via the 688 menu, saved so much time. The versatility of having several output options out of the 688 made this task a breeze.”
It helped to have both the recorder and mixer in the single unit, during the interview shoot.
“I had our guest and an on-camera host doing the interview, so I used a lav mic and a boom on both,” adds Baggett. “Being able to record isolated tracks on the 688 gave me the freedom to use all four mics and give post several options. In addition, the SL-6 has made my set up much more compact and clean; not needing any input cables has completely streamlined my bag. Being able to easily route my receivers to any of the 12 inputs from the 688 menu, and not having to unplug and replug cables, saves a ton of time.”
Bagget’s rigs include three 788T, each loaded with seven Lectrosonics UCR411a receivers, seven Lectrosonics SMQv transmitters for talent mics and three SMQv transmitters for IFB feed and camera hops. The 688/SL-6 combos are loaded with three Wisycom MCR42 Dual Receivers and six transmitters for talent mics. There’s also three Lectrosonics SMQv transmitters in each SL-6 for IFB feed and camera hops.
Each of the rigs use an array of either DPA lavs or Schoeps CMIT shotgun mics, depending on each production’s needs.
At the end of each day’s shoot, Baggett will hand-off his memory cards to either post or the production’s data wrangler. Typically, he will record to the internal hard drive and then transfer the files to a back-up hard drive. He always keeps copies of all the recordings in case the memory cards get lost or files get corrupted. He also makes sure to include a sound report for each shoot day.
“I am currently using two 688/SL-6’s on a show named ‘Flea Market Flip’, which airs on HGTV and Great American Country (GAC), and the combination of the two is just great,” says Baggett. “I also have a 688/SL-6 package out in Charleston, SC on a show named ‘Southern Charm’ for Bravo.”