Close ☰
Menu ☰

Jeff McLain underground with Lectrosonics

Posted on: Tuesday 19th of July 2022

Production sound mixer Jeff McLain’s Lectrosonics wireless kit consists of three dual-channel SRc Digital Hybrid Wireless receivers, SMWB wideband, LT, and LMb transmitters. He spoke about how Lectrosonics stood up to the rigours of one of the harshest environments he’s worked in — a minerals mine nine stories underground — and other productions.

“This was for a documentary by a couple of independent filmmakers,” McLain explains. “So much of what we use —from this phone I’m talking to you on to computers to cars — uses minerals that cannot be farmed or created in a lab. Yet there are also major environmental issues that come with mining. The film is about how we reconcile this and the crew visited mines all over the world.”

Some of the environmental and safety challenges might have made shooting desert scenes feel like a day at the beach, which is where the resilience of McLain’s Lectrosonics equipment came in. “Mines and miners, by the nature of the job, are physically dirty,” says McLain. “There is a lot of dust, a lot of particulate matter in the air. Different kinds of fuels are being used underground for equipment and it’s impossible to vent out 100 percent of their fumes. It’s just a dirty place to be when you have sensitive electronics, but I had no issues with my Lectro gear functioning properly. It was even sort of poetic that my transmitters and receivers undoubtedly contain minerals that had to be mined themselves!”

A highlight of McLain’s time beneath the earth was filming a team of miners blasting a rock face with explosives. “I had four of them miked up for that,” recalls McLain, “and it raised so much dust and debris that the explosives had to be detonated remotely from a separate mineshaft. It’s not something you can watch. I couldn’t wear headphones because of my hard hat, so I’m working with custom in-ear monitors that also amounted to hearing protection. But I could see my receivers were getting great signal, and we recorded both the dialogue and the sound of the explosion itself perfectly.”

The upside of the situation? Nine stories underground, there’s not much to compete with in terms of radio frequency. “That’s a nice thing about filming in Montana in general,” notes McLain. “RF-wise it’s sort of the opposite of being in L.A. We did have to do some re-scanning at this open-pit mine in Butte, as once above ground, I was susceptible again to RFI. But again, the scanning capabilities of the SRCs handled this quickly and without issues. Honestly, my biggest regular challenge is working with people who aren’t used to being miked up. They might drop a pack or not remove the wire properly. Lectro has stood up to all of that really well.”

McLain, who has used many brands of wireless gear from entry-level to high-end, gives three reasons he has settled on Lectrosonics over all the others.

“First, Lectro gear is rugged,” he points out. “I had my packs slapping against everything else on those miners’ tool belts and I’d worry what would happen to a plastic box. With Lectrosonics, I always know I’m hooking this tough little piece of metal up to somebody and I’m not worried it’s going to come back broken.”

“The second reason is sound quality,” he continues. “When you pair Lectrosonics with good microphones, you really become aware of the attention the engineers have paid to processing the sound and transmitting it over RF. The audio is super-clear, and the devices have extremely low self-noise.”

“The third reason is company culture. I chose Lectro the first time because other users I talked to said that the company is very responsive and communicative. That’s only gotten better in the age of social media — you have [Vice President of Sales and Marketing] Karl Winkler hanging out on Facebook answering questions. Though honestly, the gear has been so reliable that I haven’t really needed customer support. But I know if I did, I would get solutions and answers.”

While great audio gear won’t automatically make someone an overnight pro, McLain’s parting shot makes a case for investing in the best one can afford. “I used to think this was a myth,” he says, “but better equipment really can get you better gigs. I’m not going to tell some kid to go into debt — it’s okay to start out with basic, entry-level stuff. But once you’ve made some money, it’s time to step up. On the mining documentary, the DP told me he looked at the equipment list on my website. DPs, directors, and line producers do recognize certain names, and when they see Lectrosonics, they reason that if you’ve invested in it, you’ve also invested in yourself, investing in being great at your craft.”

“I’ve always been intrigued by the idea of capturing vibrations, and I love being on set,” McLain concludes. “You get a front row seat to some incredible experiences. Even the camera operator may not be able to hear everything that’s going on, but as the sound mixer, I can. Lectrosonics gives me confidence that the results I deliver will be as great as my own experience on set.”

Follow Jeff McLain at @mclainaudio on Instagram or reach out to his production company,

Latest News & Blog articles

  • German studio specialist Neumann.Berlin and Swiss company Merging Technologies – one of the world’s leading manufacturers of high-resolution digital audio recording systems – will now be working together under the umbrella of the Sennheiser group. Sennheiser has taken over the shares of Merging Technologies entirely. With this step, Neumann.Berlin plan to  enlarge its range of […]
  • London-based Twickenham Film Studios (TFS), world class home to filmed entertainment since the silent era, performed the final sound mix for Paramount Pictures’ blockbuster Top Gun: Maverick working in collaboration with Skywalker Sound. The mix was facilitated against the odds in the height of the global pandemic and proved the template for major productions to […]
  • La Casamurada studio in Penedès, Spain, has expanded its monitoring capabilities with a pair of Genelec The Ones 8361 three-way coaxial monitors. The residential studio has built its reputation on delivering a unique experience for artists that draws on all the acoustic benefits of its historic location, while also offering a thoroughly modern technical environment. […]
  • Antelope Audio has introduced a major addition to the functionality set of the Galaxy 32 Synergy Core [review Resolution V21.6] surround and immersive audio monitoring control and speaker calibration functionality. This addition to the flagship interface allows its users to configure and control a surround/immersive monitoring setup of up to 16 channels, or 9.1.6 Dolby Atmos. […]
  • Lectrosonics announced the introduction of the DSR and DSR5P dual-channel and DSR4 quad-channel digital slot receivers. The new receivers are compatible with all the current Lectrosonics mono and stereo digital transmitters and are backward compatible with any of the Digital Hybrid Wireless® transmitters made in the past 20 years. The DSR and DSR5P receivers provide two […]
  • Have Warm Audio saved the best until last? WA‑CX12 is a large-diaphragm tube condenser based on one of the world’s most sought-after microphones, the AKG C12. [A version of which, the C12 VR, is still available from the Harman-owned AKG brand for $6,989]. “The C12, a valve operated condenser, was a marvellous mic”, said Beatles-producer George Martin. […]
  • Expanding on its 30-year relationship with Calrec to satisfy its complex audio needs, OB and technical services provider EMG UK has turned to the company to equip its latest Remote Operations Centre (ROC) in Stratford, London. The installation means that EMG UK continues to use Calrec equipment in all of its UK-based outside broadcast work. […]
  • Music Row veteran Bil VornDick died on Tuesday (July 5) at age 72, less than a week after he’d been diagnosed with cancer. He was a producer/engineer who was renowned for his recording-studio skills, particularly in folk, bluegrass, Americana and acoustic-music circles. VornDick worked on albums that earned more than 40 Grammy nominations and nine […]
Translate »