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schoeps mk41 cmc6 u for vocals
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I post Youtube URLs
Ty
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If you’re going to reshoot, a couple of optional notes…
Consider an inside rather than an outside key for her . As it is, her shoulder, nose and chin are all in danger of blowing out and you have little light for her eyes. Plus the whole scene falls off dramatically right to left with the guitarist in a shadow not too far off from the background level.
And is there a reason you’re cutting both stringed instruments off in the frame? With no space around the players you’ll have no wide shot possible in post.
I agree with Ty that with the Schoeps, you could place it more stage left and point across the duo and maybe slightly raised and angled down to focus on her voice but still keep the Ike and guitar in the pattern. I’d probably also have him swing around more to face the vocalist with his guitar neck more upstage. Then with a wider key coming from stage right, the guitarist could maybe pick up some edge light from her key.
Have the vocalist would essentially sing to the audience, not at the mic.
Finally, test the key before you reshoot. That BG looks at least a couple of stops too dim to keep noise out of the key – but I could easily be wrong. If the edges are clean, Carry on. Just some observances – for what they are worth.
Good luck and let us know how things go.Know someone who teaches video editing in elementary school, high school or college? Tell them to check out http://www.StartEditingNow.com – video editing curriculum complete with licensed practice content.
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That’s remarkable Mr. Ford. Was the mic in “dialog position” (just out of frame and out in front of the mouth a foot or so, pointing at the mouth at about a 45 degree angle), or was it pointed more at his chest, or where? I never would have thought to use a hypercardiod like this for singing. Clearly an inspired choice.
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I agree with all that, Bill. Thanks. Poorly lit poorly framed and we will reshoot. The CYC wall needs some white light added to pull a key without noise. The lighting was the result of two second guessed schemes. There was a debate whether to go green screen or not and I was concentrating on the audio using the schleps for music for the first time.
But back to the topic – you would go with one mike positioned as noted rather than a second mike for his guitar? My gut tells me to mike them separately and each to their own channel. Thus the mikes would be aimed away from each other so as to not get any phasing problems.
But I am more than open to suggestions. Appreciate your feedback.
Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.
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Mr. Watson,
Welcome to Creative Cow!
Thanks for your kind remarks. This was shot in my audio studio. As such, there’s damping and reflection control at work. The room’s not dead, but it’s tight; a combination of absorption and diffusion. That muslin backdrop also helps knock the bounce down. It’s 24 feet long. I have it just off of two walls, clipped to the ceiling grid.
Yes, both CMC641 in a Schoeps stereo bar just out of frame, both over Shuviel on the right. Out front a bit with one Schoeps pointed straight down and the other pointed mostly down but angled to camera left enough to pick up Josh’s guitar on camera left. I set them while listening to the two warm up and made the choice to leave both over Shuviel and angle one to catch Josh’s guitar. I tried it. In my headphones it sounded like it worked.
It’s very important that the playing and singing levels match because this approach doesn’t allow for much in the way of mixing.
Regards,
Ty Ford
Cow Audio Forum LeaderWant better production audio?: Ty Ford’s Audio Bootcamp Field Guide
Ty Ford Blog: Ty Ford’s Blog -
[Ty Ford] ” As such, there’s damping and reflection control at work. The room’s not dead, but it’s tight; a combination of absorption and diffusion. That muslin backdrop also helps knock the bounce down. It’s 24 feet long. I have it just off of two walls, clipped to the ceiling grid.
“Why then did you feel that my adding blankets (and I could also use large muslin backdrops instead) would not be that helpful?
Oh and thank you so much for your continued descriptions of your hard earned expertise. Love this forum.
Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.
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Craig,
What I said was blankets won’t help with noise abatement. Noise abatement is keeping outside sounds from getting in to your recording. The same is true for foam. If someone’s outside with a lawn mower, blankets or foam won’t stop that.
There are two aspects; noise abatement and acoustical treatment. Using acoustical treatment to try and fix noise abatement problems won’t work.
Blankets and foam are for acoustical treatment.
You need D-I-D (Density-Isolation-Density) to block outside noise. Two walls (or other dense barriers) that are isolated from each other and do not touch each other in any way. e.g. nails and screws.
I floated 1 inch slabs of slate on my window well rims and isolated them from the rims with silicon caulk. I used the same caulk to keep the slabs from touching the exterior wall of the house. So, Density-Isolation-Denisty. It keeps the outside noise from getting in to my studio. It does nothing for in studio acoustics.
Make sense now?
Regards,
Ty Ford
Cow Audio Forum LeaderWant better production audio?: Ty Ford’s Audio Bootcamp Field Guide
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Yes sir. I’m going to float some muslin from our grid and go outside and tell everyone to be quiet for the next two hours. and if they need to make noise they should build me a wall around our studio.
Seriously though, I was hoping they would help both treatment and abatement and you didn’t seem to get behind either. But when I reread the thread I get it. I didn’t believe that adding absorption would eliminate outside noise but thought it would help dampen it. Either way the room is rather hollow sounding and does have echoes even if they are not that audible in the recording.
Thanks Ty.
Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.
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::the sword of the vocabularian comes down from the sky:: 🙂
Dampen means to get something wet. The word to use is damp.
Inside you need a balance of absorption and diffusion. Too much absorption and the place is dead and a pain to work in.
Regards,
Ty Ford
Cow Audio Forum LeaderWant better production audio?: Ty Ford’s Audio Bootcamp Field Guide
Ty Ford Blog: Ty Ford’s Blog -
you are again correct though i am in good company
dampen in the American Heritage Dictionary
verb
3) To soundproof.
oxford dictionary
Make less strong or intense:
nothing could dampen her enthusiasm
MORE EXAMPLE SENTENCES
SYNONYMS
2.1Reduce the amplitude of (a sound source):
slider switches on the mixers can dampen the drumsMac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.
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