. : | Dan Habour | Freelance



	SQN 4 Industry standard 4-channel location mixer, strong and rugged with excellent pre-amps. Designed for broadcast applications in difficult environments. Ideal for straight-to-camera film work, corporate sound gathering, & documentary/news.
	Fostex FR-2 Timecode Recorder Digital location recorder with timecode, made specifically for film and broadcast use. It is designed to replace traditional DAT, recording high quality non-linear sound at 24 bits. This machine records crystal clear audio that can be re-played, edited, and processed far easier and quicker than DAT. Its flexibility means that Fostex have been able to add extra functions which give the operator more control over each individual recording. The FR-2 is reliable and produces superb results.
	Laptop (loaded with Adobe Audition) When used in conjunction with the FR-2 recorder, I am able to quickly back-up digital sound files during a break on set. I can load audio straight from the recorder and process it using Audition software. This gives the director the ability to 'see' the dialogue on screen and play around with edits & effects if they don't want to wait until post to experiment. Having the laptop on set also means that I can burn a copy of the sound rushes onto CD for the producer at the end of each shooting day. The CDs can then be sent straight to the editor without the need for expensive processing, as with DAT.
	Tascam DA-P1 My back-up recorder, or for when directors specifically ask for DAT recordings. Designed for field recording, this 2-channel recorder has all the features an operator requires when out on location, and produces excellent results.
	Sennheiser MKH 416 The industry-standard dialogue boom mic. The 416 is a workhorse for any location shoot and captures fantastic sound in any environment. Effective for both drama dialogue and documentary sound-gathering.
	Sennheiser MKH 50 This is a super-cardioid condensor designed for high-quality indoor dialogue. It is a specialist mic, able to capture crystal-clear dialogue on set due to it's high sensitivity and side noise rejection.
	Sony ECM 77b Another industry workhorse. The 77b is Sony's omni-directional broadcast mic; it has a tiny head which can be hidden in an actor's clothes or pinned to a presenter's suit jacket. Ideal for interviews, car scenes, and any situation where a boom cannot easily be used.
	Sennheiser EW-112p The EW-112 is a UHF True Diversity radio mic with a tiny capsule and small transmitter which is designed to hide on the belt or in the pocket of an actor or presenter. It is ideal for situations where a boom cannot be used and a wired personal-mic is not possible. These mics are also excellent for presenters who are giving a piece to camera in a noisy environment.
	Audio-Technica Boundary Mics Specialist mics for use in certain situations where an actor is giving dialogue next to a flat surface such as at a desk. They are inconspicuous and able to reject 'bounce' from the surface whilst capturing quality sound from the subject. Boundary mics also make excellent back-ups or can be used to record ambience while the boom operator concentrates on dialogue.
	AKG D230 This is an omni-directional dynamic hand-mic which has been designed with news gathering and interviewing in mind. Its wide directionality and limited range means that the D230 is excellent for reporters needing to record interviews on the street. I often use it with the EW-112 radio mic to enable the interviewer to concentrate on pointing the mic at the interviewee, whilst capturing a clear recording of the presenter.
	Sennheiser & Sony Headphones I use high-quality headphones to monitor audio as it is recorded, and also have wireless phones for the director if they wish to listen to what is being recorded during takes