Issue link: https://digital.copcomm.com/i/1535953
and XLR patch bays so I can easily patch in and out whatever audio or video source I need. I also have two rows of dual BNC connectors that can be used to bring multiple UHF antenna signals in or out. I bring in the antennas to my Venue's, and the outs to either remote a Boom or Utility IFB antenna, or remote a Comtek Phase-Right antenna for use with earwigs, or closer to the village if we are separated deep in a building. I'm a big fan of landing the cart and moving it as few times as possible. We primarily use Schoeps CMIT 5U's, mini-CMIT's, and Sennheiser MKH50's for booms, and a combination of DPA 4060 and DPA 6060's, Sanken COS-11's, and Countryman B6's lav mics depending on the costumes, which run quite the gamut. I use Lectrosonics for cast and sound department, SMWB's and SSM's on cast, HMA's for booms and large plants. We began filming Hacks in the fall of 2020 with COVID still running rampant, and of course, had daily testing for everyone in Zone A. Our first season was at Paramount, and no food nor beverage could be enjoyed while on stage. I will always remember those days when I opted to mix from outside the stage, just so I could have a snack or some caffeine without having to leave my cart. Our video village had the same problem, and was always a little farther from set than anyone would have liked, and thus, the VOG came into play for every day and every scene. We went through a few iterations over the seasons, with changes only to the powered speaker itself. A request to have two VOG PTT transmitters available every day was made prior to the start of production, as either one for the director, and one for the supervising director, or for the AD. This was a good job for my Lectrosonics UM400a units and an SRC receiver. We had other options available, including wireless handheld mics, but the village seemed to like the walkie-style PTT mic with the UM400a combo. I'm currently using the JBL EON One and enjoying the long-lasting battery operation (Ten hours with one battery that is also swappable with easy access), multiple inputs, built-in mixer, good sound quality and power for the size/weight. It's Bluetooth functionality helps, as well with last-minute non-sync music requests. As more and more episode scripts came my way, I was happy to see that we would have plenty of live stage comedy work, a good bit of interesting non-stage locations, and even a little singing, which turned into more and more singing throughout the seasons. I chose my cart based on its solid build quality and knowing it could fit through any doorway in LA that was built to code (and many that aren't), and I'm really glad I did as Hacks has been a heavy trailer and stakebed show. We've been to dozens of theaters and comedy clubs all over LA, as well as rooftop bars, Hollywood nightclubs, subterranean restaurants, sidewalks, theme parks, golf courses, hotels, pickle ball courts, and even an active cruise ship. The ability to lay my cart on its (L-R): Boom Operator Ryan Fee, Claire Mondragon, Sound Utility, and Sound Mixer Jim Lakin celebrating sound roll 100 during season four.