Brian Reynolds
Forum Replies Created
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You bought a multi track ‘recorder’ NOT a mixer……
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So Erin let me see if I have your request for info right… You want to shoot a Doco on a DSLR stills camera with poor audio capabilities so you want to record the sound on basicly ‘toy’ audio recorders with poor pre-amps and you want to asking us which toy is better?
The mics you have chosen is it based on quality or price?
I assume that you will be taking the role/s of Camera,Sound, Lighting, Direction, Producer, Editor etc……And you want to deliver ‘Professional’ results right?Yes it can be done, but often you need luck to go your way.
My suggestion is get a good group of ‘friends’ around you to take on some of the other roles and take the weight off your shoulders.
Yes you can get good audio off ‘toy’ gear but it takes good people with good skills and a focus on the ‘one’ job they need to do. -
‘Red Curtain’ seems to be the one that a lot of people are using for broadcast.
There is a version for Mac and one for iPad but not for PC based systems. If you are a PC based studio ‘Stinger’ is an option. -
You should only need a unit relevant to the frequency band you are using….. BUT with frequency bands for radio microphones changing world wide you may wish to think ahead to where any future use might be.
I bought one of the earlier models (several years ago) and have been VERY happy with its results -
These days with so much RF around you need to get a bit smarter, the scans often done by radio mics is only very basic, get one of these and actually see whats around.
https://www.seeedstudio.com/depot/rf-explorer-model-wsub1g-p-922.html
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I think you need to get across the technical side of broadcasting rather than the production side of broadcasting.
Sorry I can’t help much with that, I’ve been on the production side for 30+ years and left the transmission to the technical people. -
I’m still not understanding where any audio fluctuations would be coming from?
For example; If I do a sporting outside broadcast it will have both Mono and stereo components in it.
Opening music (stereo) through to stand up hosting (dual mono) then into the match (mono spot Fx mics and stereo crowd Fx mics) with mono commentary over the top in the mix. This will provide a nice mix for anyone watching in stereo (with width) and in mono it will sound identical but without the width and spacial sound.With ANY stereo production phase is a critical point, and needs to be monitored.
If in any program there are phase problems yes it will reflect in the Mono / Stereo compatibility, and if someone delivers a program with phase errors in it it should simply be rejected…..don’t try and fix it, send it back to the production company. -
I don’t understand your question… Dual mono can be treated as stereo but with no separation and the same the other way around.
Please expand your question of what you are trying to acheive. -
See page 80 of the Zoom H6 manual………
Download a copy before you buy a unit.So you are going to operate camera, zoom, focus, frame, light, color balance, mic talent, set audio levels, and monitor the 4 signals, roll the H6 etc etc etc?……. and hopefully try and deliver a decent product……
Good luck (your going to need it)
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Most of my work as a freelancer are ‘quick’ shoots, for example news crosses, press conferences, interviews etc. Most of the shoots I do are either live to air feeding a camera and or ENG / SNG unit, If I do commercial production most times its just one or two mics either to a camera or recorder.
Often broadcast networks have a server based system where the raw material is ingested into the server and worked on ANYwhere across the network, multi track audio from a 788 or similar just doesn’t seem to work in that workflow.
OK im not doing film or reality TV where post production work flows would be vastly different.
And yes I would like to upgrade my SD442 to a newer system but it would offer very little benefits for what I do.