Most of our location audio production is accomplished using analogue to digital tape or solid-state media with most subsequent audio processing and editing remaining in the digital domain. When working on location we follow several approaches, with equipment selected for the specific assignment and size of the crew allocated.

Whilst the audio some EFP assignments may be handled by the camera operator with minimal equipment, we usually strive to operate with a dedicated sound recordist. Just like the photography, the quality of the audio in post-production and the finished result is only ever as good as the original recording from the location.

Most location audio is recorded directly to the video media, though for some assignments a separate audio recorder will be used for sync in post.

Our standard audio package is based on an SQN 4 mixer with a selection of wireless and wired lavalier microphones, supported with relevant hand or boom microphones. The BeyerDynamic DT-48 is our standard recordist's headset, though alternatives are available.

As alternative EFP mixers we have the SQN 3-M, the Opus Audio FPM420 and the Sony MXP-42.

For more advanced productions requiring greater control and/or a larger number of input channels we have a choice between one or two Audio Developments Pico 145 mixers with six input channels each and a choice of either mains or 12v DC powering, or a Soundcraft 200 series with a 24-4-2 configuration (requires mains power). These mixers are ideal for smaller live music productions or coverage of events involving a large number of microphones and external feeds.

For such projects these mixers are configured together with the appropriate outboard gear, sound carts, monitoring and playback facilities and suitable multi-track recorder solutions.

We have an extensive microphone stock which includes the following -

Lavalier mics

Wireless microphone transmitter/receiver equipment

Hypercardoid mics

Dynamic mics

Large studio condensor mics

Condensor mics