Audio is important throughout the filmmaking process. If you can catch and solve audio issues before you get to post, it means we (the post sound crew) can spend our time and your budget making your project sound badass in other ways. Technical problems can eat up the budget and take time away from things like sound design, Foley, ADR, and mixing.
For production sound, hiring a sound crew is always the best choice for quality. But, in reality it’s not always possible (for whatever reason – budget, safety, privacy or otherwise). I’m recommending some products to help get decent and usable audio. If you’re serious about getting into major film festivals, distribution deals etc, having a production sound crew is a must.
Why it helps to have a good listening environment
One of the most common comments I get from filmmakers, producers and editors is “I didn’t hear that in the edit bay!” Some of that comes from audio processing but the speakers make a major difference, too.
What you’re trying to hear is audio problems – anything from a hum, hiss, distortion, unwanted background noise, mic dropouts… the list goes on. It’s possible to fix these in post (with processing, sound editing, or ADR) but it takes time. Some audio problems can be addressed easier before picture is locked. I like it when editors or filmmakers send me a sound sample and ask, “Is this usable or is it going to be a problem?”
Get a good pair of headphones
You’re going to hear a lot more detail on headphones than earbuds, tv or computer speakers, or mobile devices. If you’re reviewing an edit through a computer (Vimeo, Youtube, Wiredrive, etc) professional headphones will help you catch problems. If you have a pair of headphones you use regularly (even when watching movies or extracurricular watching), your ears will get used to the sound of those headphones. That’s when you’ll start noticing things like balance problems, too much bass or hiss, etc because you’ll have a better sense what sounds “normal”.
You can get a quality pair of professional headphones under $200 USD. Popular professional brands are Sony (Sony MDR7506 are very popular), AKG, and Audio Technica. My favorite headphones are Audio-Technica ATH-M50x Professional Studio Monitor Headphones. I use them all the time with my work.
Beats headphones (by Dr. Dre) would work fine for this purpose (if you already own them) but I wouldn’t recommend buying them. Professional sound people tend not to use them. Beats intentionally have low frequencies (and very high frequencies) boosted so the sound is “colored” and not neutral (this has been verified by independent research). So, the balances you hear through Beats headphones may not be true to how it sounds in a sound studio (or the edit bay). Beats can be more expensive than many of the professional brands mentioned above, too. Research has shown no correlation between frequency response and retail price – so more expensive isn’t necessarily better.
Studio Monitors (Speakers) & Accessories
Tips for buying speakers
- Bigger is going to sound better. Small woofers can’t create low frequencies as well as larger ones.
- Look for speakers designed for a studio (not live sound). They may be called “Reference monitors.”
- Look for “Near field monitors” which means they’re designed for close proximity (less than 6 feet away). You’re going to get the best sound and detail up close.
- Active speakers just need to be plugged in. Passive speakers may be cheaper but you’ll need an amplifier. (All of my recommendations are active speakers.)
- Some monitors are sold individually, not in pairs.
- Spend at least $300 for a pair if you can. Anything below that is basically consumer level audio (not great)
Standard Size Speakers
There’s also brands like Yamaha or KRK making speakers in this price range (like the KRK RP8G3 ROKIT). There’s nothing wrong with them but I think with JBL you’re getting better bang for the buck.
The next price point ($600-$1000ish USD) gets you into well-known professional brands. These include Genelecs (8010a, 8020b, 8030 and others), Focal (such as CMS65), or Neumann (such as KH 80s) – all which you may be able to find used. I’m a big fan of Focal (I use one of their higher end models in my studio).
Small Speakers
When you buy a small speaker, you just have to be aware that it’s not completely flat (balanced between frequency ranges). Adding a subwoofer ay help but it doesn’t solve the problem (you’ll still be left with a frequency gap in the mid-lows or possibly a muddy low end).
Some small speaker options I’d recommend are JBL 306P MK II or JBL 305P MK II (these are the smaller version of what I recommended above). Genelec 8010A are a decent option, too.
A small speaker I’ve heard and was impressed by was IK Multimedia iLoud Micro Monitors. They have a lot of low end for the size (and cost) and are easily portable.
Speaker Risers/Stands
Ideally, you want your speakers placed so the tweeter is the same height as your ears (if possible). Anytime you set your speaker on a surface (like a desk) you’re going to have sound reflections bounce off the surface. The combination of the direct sound and the reflection can muddy the signal.
Any speaker riser for a table would probably work, too.
If you want a dedicated speaker stand, something like the Onstage SM6000 works well. They’re adjustable height and not a tripod style bottom (which is harder to place and easier to trip over). I wouldn’t use foam risers with stands like this since it makes the speaker less stable. You can adjust the speaker height with the stand, anyhow.
Once you get your speakers and risers, Thomann has some great tips for placing them.
Sound Recorders
I know I’m a broken record saying this, but the absolute best way to do production sound is a hired sound crew. Please, please hire sound crews and pay their rental fees unless you absolutely can’t do it. This isn’t just about saving money – it’s that you may end up spending money and losing time correcting problems in post-production.
My hands-on experience with production audio is limited so my recommendations come from filmmakers I work with (and hearing the good results they get with these tools).
An external audio recorder is better than recording to camera because you have full control over setting levels and sampling frequency. I would definitely recommend a Zoom Recorder. The sound quality I receive is generally good (with good mic placement and the gain set correctly). The H4 models (and up) have XLR connectors so you can use any boom and wired lavs.
- Zoom Shotgun Capsule (The Shotgun only works with select models)
- Zoom RC4 Wired Remote Control
- Zoom Tripod to Mic Stand Adapter ZMA2 – if you want to mount it on a mic stand