Fred Ginsburg: Q&A with a Hollywood Sound Pro – Part 4

We hope you’ve been enjoying our interview series featuring insight from “Hollywood Sound Specialist” Fred Ginsburg. This is the final installment in the series, wherein Ginsburg unloads his sound cart for us. If you missed part three of our interview you can read it here.

Fred Ginsburg Sound Engineer

Fred Ginsburg at Audio-Technica’s booth during the 2015 NAB Show.

A-T: Whenever we’re with you at the NAB Show, everyone loves looking at your audio cart. Can you tell us a little bit about what’s on the cart?

FG: Let’s start with the cart itself. I prefer my sound cart to be physically light and easy to transport, whether it be folded down to fit into my car or hoisted up a flight of stairs. My cart is a RocknRoller R12RT equipped standard with four all-terrain tires. I opted for the Multi-Media shelf system, with a spacious 36″ x 24″ main shelf along with an upper hutch. My cart has been modified with cable hooks, pouches, smaller hooks, and a cup holder.

The boom poles are all from K-Tek. It is nice having a variety of lengths available for any situation.

The shock mounts include the venerable Audio-Technica AT8415 crisscross band mount, which is probably the most recognized mount in the world. I also have shock mounts from K-Tek, especially for the longer, heavier shotgun mics.

Blimp windshields are from Rycote. For sure, you need a long blimp for your primary exterior long shotgun mic, which in my instance is the Audio-Technica BP4071L. I prefer this longer version of the BP4071 because it is just a tad more directional, and that means a tad less side noise.

I also keep one of my BP4073 short shotguns (medium, actually) in a blimp, in case I need it outdoors as well. Indoors, I just keep the BP4073 inside of its foam windscreen.

The two multi-track recorders on display are a TASCAM HS-P82 ten-track with timecode, along with the new DR-70 four-track.

Although the HS-P82 is designed to mate with the RC-F82 eight-channel fader controller, also on display — I have it connected to a PreSonus 16.4.2 digital mixing console. The PreSonus gives me 16 mic inputs, along with lots of digital signal processing, which makes it a better choice on larger shoots, and for mic demos here at NAB.

Of course I have a full complement of Audio-Technica broadcast production microphones hooked up. Almost all of these mics are from my own inventory; and I use them (or their more beat-up sisters) throughout the year. Shotguns on display include: the BP4071L in a Rycote blimp, rigged my own special way with the foam windscreen inside; the BP4073, BP4071, and AT897. Lavs include my favorite, the AT899, along with the AT898, MT830R, BP896 micro, and AT803.

I adore the System 10 Camera-Mount. Even though it was never meant to compete with the big boys, this inexpensive wireless is so clean sounding and RF resistant that it is scary!

I have the BP4001 and BP4002 dynamic handhelds, along with a couple stereo mics.

The neat thing about my sound cart is that it is a working sound cart. Everything on it and in it is stuff that I like to use, whether it is on a major set or teaching a sound class.

When folks come up to me and ask questions, I can actually show them how to do stuff and let them listen. Learning takes place over here, at the sound cart.

We would like to thank Ginsburg for taking the time to sit down with us for some professional audio insight. Stay tuned to the Audio-Technica blog for more info and insight from industry pros.

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