Brian Reynolds
Forum Replies Created
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Most mixers…. even cheapies have better preamps than the H4n.
Mics to the mixer then mixer to H4n at line level.
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Thats easy….. The TV / Radio broadcast industry currently has a shortage worldwide for audio people, Audio Directors and Audio Assistants that can cope with ‘live to air’ productions. NOT just a computer jockey with an ‘undo’ button.
In my location the youngest broadcast audio person is mid 40’s with no one young coming up the ranks.
So get your head around TV or radio outside broadcasts, Live to air studio productions.
Start with your local community TV / Radio station and be a volunteer.I’ve been doing it for 30+ years and currently busier than a ‘one handed wallpaper hanger’
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It’s interesting how many newcomers to the industry think a recorder is the first purchase, OK they are in the mindset of ‘student films’ but that sort of workflow is often a lot different in the Professional market.
My suggestion for anyone entering the audio workforce is find employment where the money is rather than playing around with little or no money sectors of the industry.
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The ME 80 I think used mercury batteries in the powering module. Those batteries are no longer available. Some of the sennheiser mics of that era were a bit ‘honky’ in the upper mid range compared the 416 / 816 mics.
Would I use one if it was available? Yes but I wouldn’t buy one, I think the Rode mic would be MUCH better. -
The acts with their own speakers is a problem….
Fx mics normally face the audience and away from the PA speakers, they are there to get the audience reactions and not to pick up the PA .
The ideal audience mic would be a cardioid condenser mic but in reality for small shows any mic (except omni) would do, the omni would get to much spill from the PA.
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If your P2 prefer mic level then follow the setup I have described and just switch the o/p of the 302 to mic level everything else will be the same..
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This is probably how I would do it, but others may do it differently.
Take the MONO XLR o/p of the theatre mixer feed that to the main camera position and into the 302 mixer input set to LINE level and the signal panned centre. Take the L o/p of the 302 set to line level and feed it to channel 1 of your main camera (at line level).
Take the R o/p of the 302 mixer and feed it to channel 1 of the 2nd camera set to line level.
Set an FX mic on a stand near EACH camera (rather than on top of the camera as it will pick up zoom / focus handling noise).
So each camera will have MONO audio on channel 1 and FX on channel 2.
You need the FX tracks in a job like you are doing as just a theatre mixer o/p has no atmosphere.
Be more concerned about a nice MONO mix rather than POOR stereo mix.
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What is the mixer ALREADY feeding and what connections are being used?
What sort of function are you doing? ie;Music (stereo or mono) or spoken voice etc.
Do you need a Mono or Stereo feed?
Is there any audience participation like applause?
How far from the mixer is your camera?…x meters (approx) -
Any change of posting a snippet of what you’ve got? Perhaps 30 seconds on youtube.
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Peter I wholeheartedly agree with you, these days I don’t even want to send a ‘guide’ track to DSLR after being caught out by a lazy editor / producer using the DSLR track rather than doing the right thing and syncing the separate audio track….