Audio Monitoring Equipment

Here is how this works in practice. On-set tracking in Brazil is shaped by ANATEL range rules and by the dialogue benchmark set inside Globo Estúdios PROJAC. Jacarepaguá's permanent telenovela infrastructure where mixers track many boom and lav channels in parallel, at times for hours, with broadcast-quality reference. We provision closed-back tracking sets from Sony MDR-7506, Sennheiser HD 25, and Beyerdynamic DT 770 Pro for production mixers. Plus Lectrosonics IFB systems (R1a / IFB-T4) and Sennheiser 2000-series IEMs for directors, script, and talent.

Here is what that looks like on the ground. On the ground, Frequency allocation for IFB and IEM gets scanned at each location alongside the wireless mic plan (Lectrosonics, Wisycom, Sennheiser Digital 6000) so director feeds and Lavalier transmitters never collide. ANATEL short-term licensing is filed during prep, with channel maps logged per location for São Paulo, Rio, Brasília, and any out-of-town legs.

Here is the short of it. Video-village tracking matrices follow the Globo PROJAC and Casablanca Studios São Paulo standard: distributed amps, foldback to director and producer chairs, separate client-comfort speaker pair, and feedback-suppression discipline that survives long takes. We carry the practice across to Cinerent Brasil + Cor & Som DIT cart integrations and to remote work on O2 Filmes-style feature crews. For Amazon and Pantanal locations out of Manaus and Cuiabá, gear ships in dehumidified Pelican cases — tropical 80–95% humidity attacks foam pads and driver assemblies fast — and we stage spare headsets, foam ear cushions, and lithium AA stocks against the day. Productions ranging from Padilha's Tropa de Elite to Salles' I'm Still Here have gained from the same tracking stack. We configure scale to match: from single-mixer ENG bag rigs to 12-channel video-village foldback walls for telenovela-style multi-cam.