I'm often asked to operate as a one-man-crew recording both vision and sound

I understand that occasionally there isn’t budget for a sound recordist, so on these occasions I’m quite happy to take care of sound too. I have recorded sound on hundreds of interviews both in and outdoors, and having worked with some of the UKs best sound recordists; I’ve picked up many techniques and tips over the years.


If I’m to film in chaotic environments with dozens of people and you're expectation is to capture great audio "on the fly" then it's really advantageous to have a separate sound recordist with a boom mic.

Included in my kit is an industry standard Sennheiser 416 microphone in a Rycote Full Windshield, which assures great sound in severe wind conditions.
Radio mic wise, I supply two lapel radios as standard and a handheld mic with a wireless option, which removes cable trip hazards when shooting vox pops in public areas.

Audio Levels

I take great care to assure my audio levels are within ‘broadcast standards’. Some cameramen still record sound far to hot, i.e. much to high. Cameras record audio ‘digitally’ these days, so a higher than normal level is not recommended. Problems may not arise initially but can cause big problems in post-production. My audio levels are recorded within ‘recommended broadcast standards’ with peaks between -18 to -20db

BBC Peak levels should not exceed  -10db.
EBU (PAL countries)- tone of 1 Khz @ -18dbfs.


My sound kit consists of:

1 x Sennheiser 416 microphone
2 x Radio mics - Sennheisier G3 (2012 Ch38 Compliant)
2 x Lapel mics - TRAM TR50
3 x Lapel mics - Sony ECM-77
2 x Bayer M58 reporter/desk mics
2 x AKG D 230 reporter/desk mics
1 x Sony F112 reporter/desk mic
1 x AKG P220 True condenser microphone
Sennheiser HD-26 PRO headphones
Rycote full windshield kit for 416 mic
High wind covers for clip-on mics
K-Tek short boom pole with Boom Buddy
Mic stand with short boom arm.