2x Sony NEX-FS700
4K Exmor Super 35 CMOS sensor
Full HD 1080 60p/50p/30p/25p/24p
plus Super Slow Motion at 10x in Full HD
With Convergent Design Odyssey7Q+
4K (4096 x 2160) up to 60p (120p burst)
2K (2048 × 1080) up to 240 fps continuous
12 bit raw or 10 bit Apple ProRes 422 HQ
Sony Alpha A6000
24.3MP Exmor APS HD CMOS Sensor (APS-C)
Full HD 1080 60p/50p/25p/24p
Lenses for A/B Cameras:
Sony SELP28135G FE PZ 28-135mm F4 G OSS Cinema Servo Zoom Lens
Sony SEL-18200 OSS 18-200mm F3.5-F6.3 Zoom Lens
Sony SEL-50F18 OSS 50mm F1.8 Prime Lens
Sony SEL-30M35 30mm F3.5 Macro Prime Lens
Sony SEL-16F28 16mm F2.8 Prime Lens
– VCL-ECU1 12mm Ultra Wide Converter x0.75
– VCL-ECF1 9.92mm Fisheye Converter x0.62
Sony SELP-1650 OSS 16-50mm F3.5-F5.6 Power Zoom Lens
Back illuminated 1/2.88″ Exmor R CMOS Sensor
Full HD 1080 50p/25p
Carl Zeiss Vario-Sonnar T* Lens with Balanced Optical SteadyShot
Production Monitor / Recorder
Convergent Design Odyssey7Q+
The worlds most advanced monitor/recorder.
7.7″ OLED monitor (1280×800) with true blacks, accurate colours, wide viewing angle and a large array of image analysis tools.
Fully enabled for Sony FS700 12 bit raw recording, 10 bit 4K Apple ProRes 422 HQ, High Frame Rate (HFR) up to 240 fps, and high quality full HD derived from the 4K raw camera signal.
Can be mounted on camera, or on our Steadicam rig.
- Frequency Response: 40-20,000 Hz
- Pickup Pattern: Super-Cardioid / Lobar
- Transducer Principle: RF Condenser Microphone
The MKH-416 has been an industry standard for decades and with good reason, this mic is awesome on so many levels! You will definitely have heard sound recorded through one of these, it is widely used in film and television productions and for ENG (electronic news gathering) and other outside broadcast applications.
Sennheiser K6 / ME 64:
- Frequency Response: 40-20,000 Hz
- Pickup Patter: Cardioid
- Transducer Principle: Pre-Polarised Condenser Microphone
Sony ECM-XM1 Shotgun Microphone:
- Frequency Response: 50-20,000 Hz
- Dynamic Range: 111 dB typical
- Signal-to-noise Ratio: 78 dB typical
- Sennheiser ew 112-p G3 wireless lavalier microphone ENG kit (bodypack and portable receiver)
- Sennheiser SKP 300 G3 XLR plug-on transmitter with phantom power, plus EK 100 G3 wireless receiver
- Sennheiser ew 165 G3 wireless kit with handheld SKM 100-865 G3 super-cardioid condenser microphone
- Sennheiser e908-B cardioid condenser wind / instrument mic with bodypack connector
RF Environmental Analysis
- RF Explorer 6G Combo Plus Slim Handheld Spectrum Analyzer – Full 6GHz coverage – Left Input Receiver: 50kHz–960MHz – Right Input Receiver: 240MHz–6100MHz
- Touchstone-Pro (software) – RF environment scans can be exported and loaded into Shure Wireless Workbench or easily converted for use in Sennheiser’s WSM (Wireless Systems Manager) software for frequency co-ordination and allocation
- SMA-BNC adaptor – connect directly to external antennas – analyse the same signal the wireless receivers are seeing
Dedolight 3 light kit with one small soft box
Gekko karesslite 6006 DD LED soft light panel
Various CTB gels to match natural light
Various large photographic reflectors
Genuine Steadicam Pilot HD Arm, Vest and Sled
with upgraded Gimbal grip and monitor yoke from Sky Magic / Frederic Sturm allowing mounting of Odyssey 7Q+ 4K recorder
Other Camera Support:
Sachtler FSB 4 SL MCF Fluid Head Video Tripod
Kessler Kwik Release Mounting System
Philip Bloom Pocket Dolly Traveler Length 29.5″ with All-Terrain Outrigger Feet
Manfrotto 546B video tripod with the MVH502AH Fluid Head
Joby GorillaPod Focus (with Ballhead X) for Professional Cameras
Camera Motion Research Blackbird Camera Stabilizer
Studio and Live Sound Equipment
Allen & Heath SQ-5 with DX168 Stage Box
48 channel / 36 bus digital mixer powered by Allen & Heath’s revolutionary XCVI 96kHz FPGA engine. Built for professionals in the most demanding live sound applications, delivering class-leading high resolution audio with an ultra-low <0.7ms latency, the SQ-5 provides unrivalled power and audio fidelity. With access to the acclaimed RackExtra FX library that rivals the best studio plugins, and no latency penalty regardless of the processing in play on each channel, this superb sounding desk is equally at home live or in the studio.
Up to 16 channels can be recorded directly on the desk at 24bit/96kHz, or 32 channels via a connected computer, making this console ideal for live recordings whilst simultaneously performing front of house and monitor mix duties.
Entire shows can also be stored and recalled, allowing incremental improvements with each performance by the same artist over multiple events.
Mackie Onyx 1640i recording and live sound console
This flagship hybrid analog/digital mixer sports 16 mono channels all with Onyx mic preamps (with a reputation as some of the best boutique quality preamps available), 48V phantom power, low-cut and dedicated 4-band dual-sweep Perkins EQ, six aux sends for additional dedicated mixes (including monitor mixes and effects loops) and a true 4-bus architecture. Built-in DIs on two channels and talkback for communication between mixing position and stage/studio talent.
Equally capable as a live sound desk and studio recording console. Full-featured 16×16 FireWire capability allows routing of all channels to, and return from, our Mac computers for insert processing and/or recording. In the live setting, the computer can operate as the outboard effects and processor rack using studio grade plugins, and in live or recording settings, the computer can also record any or all 16 channels simultaneously with up to 24 bit 96 kHz studio master sound quality.
Live sound processing with Waves MultiRack using world renowned studio grade software plugins.
Analog Rack Units:
dbx 1066 dual/stereo Compressor / Limiter / Gate / Expander with Side Chains
dbx 1046 quad/dual stereo Compressor / Limiter
Drawmer DS404 quad Gate with Side Chains
Lexicon MX200 dual Reverb / Multi Effects Processor
2x dbx VENU360 System Processors (Loudspeaker Management Systems)
Each unit has 3 inputs and 6 outputs allowing for full control over many different PA configurations, for example:
- stereo mains & subs, 4 monitor feeds
- stereo mains, aux fed sub, 3 monitor feeds
- 3-way stereo mains (high, mid, low), 3 monitor feeds
Processing includes limiters (for speaker protection), compressors, noise gates, parametric and graphic EQs, room correction, level correction, crossovers, speaker and driver alignment delays, dbx AFS (advanced feedback suppression) and sub-harmonic synthesis. 24 bit / 96kHz operation, digital or analog inputs. Fully networked and remote controllable.
AFS can have fixed and live filters. Live filters can auto-release once the feedback source goes away. Precision parametric notch filters are used ensuring the overall sound is not perceivably altered, unlike the more traditional 1/3 octave graphic EQ ringing out method.
2x Mackie SRM450v2 Front of House PA with SWA1501 Sub
2x Mackie SRM450v2 for use as monitors or additional FOH
2x Mackie SRM350 primarily used as stage monitors
4x EV N/D 257B cardioid vocal mics (early 1990’s vintage – excellent microphones with a very wide 35Hz-19kHz frequency response giving them an almost condenser like sound; carefully maintained from new and equally at home as instrument mics)
2x Sennheiser e 845 dynamic super cardioid vocal mics (just as happy sat in front of electric guitar cabs!)
3x Shure SM57 dynamic cardioid instrument microphone with clean reproduction of amplified and acoustic instruments
2x AKG C 415 B reference small-diaphragm condenser (cardioid) microphones – stereo matched pair
Classic original AKG D 112 kick drum mic
4x AKG C 418 clip on condenser mics
2x AKG C 1000 S small diaphragm condenser mics
(the above AKG mics are all early 1990’s vintage in excellent condition)
2x Behringer B2-PRO gold-sputtered large 1″ dual-diaphragm multi polar pattern studio condenser
(note: if you’re a gear snob and wondering why we have anything Behringer in our collection, the B2-PRO mics are based on the original RØDE NT2 circuits updated for multi-pattern by the original manufacturer to a vintage German design and they sound amazing! – don’t judge by the name, just listen! – more on all this over at Gearspace.com here)
6x Behringer B-5 gold-sputtered small diaphragm studio condenser mics with omni and cardiod capsules (can also used live on stage for acoustic guitars etc – similar back story to the B2-PRO)
plus all the Sennheiser mics and wireless mic kits listed above
Measurement (PA tuning / SPL monitoring):
iSEMcon EMX-7150 Measurement Microphone 10Hz-20kHz Class 1 Max SPL 146dBspl
Beyerdynamic MM 1 Measurement Microphone 20Hz-20kHz Max SPL 122 dBspl
iSEMcon SC-1 Sound Calibrator
By design the MM 1 is optimised for diffuse field readings (90°) and the EMX-7150 for free field (0° / pointing at the speakers), though we have both free field and diffuse field calibration files for both mics, so they can be deployed either way.
Upto 8 channels of on-stage DI (bass, acoustic guitars, keyboards etc)
2x 30m 20 way multicore cables
50m and 15 m CAT6 professional etherCON cables for multichannel digital audio
plus loads of mic cables, instrument cables, adaptors, etc.
Apple Final Cut Pro
Apple Logic Pro
iZotope Ozone Audio Mastering
iZotope RX Audio Restoration
Waves Plugins (including Abbey Road Reverb Plates, EMI TG12345 Channel Strip, Modern and Vintage Compressors, Transient Shaper etc.)
Full suite of Soundtoys Plugins
Melodyne Studio (pitch correction, breath control etc)
and quite a bit more besides!