Brian Reynolds
Forum Replies Created
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Track 1. It sounds like a mix of many tracks… I doubt any one could unscramble that…..
Track 2. Seems to be recorded at a very low level.Please explain more about the recording process, was it a case of a radio mic placed on each of the talent and ISO recorded with out monitoring?
Was a ‘Hot’ mix done and were these problems evident on that track/s?
Many people just getting into multi mic shoots just record everything at once and then ‘TRY and fix it in post’ The better way is to actually do a VERY good live mix of the talent knowing you have ISO tracks to fix up any minor errors.
Just placing a mic on everyone and recording each as an individual ISO track and then doing a poor crash mix is such a bad way of doing things as inevitably the audio is never monitored for quality……just the meters are watched to see if they are going up and down.
This sounds like what you have in the first track you posted, where did you get the audio you posted from?
What dollar savings you try and make in the original shoot will come back to bite you if you try and think things can be fixed in post production. -
Brenden it might not be Azdens manufacturing problem as they are probably getting in the cables from an independent manufacturer.
What may not be suitable for you might work well for someone else.There seems to be a problem world wide with the industry, every one has assumed just because because plug A fits into socket A and plug B fits into socket B every thing will work without worrying about the actual connection points.
The ‘art’ of custom DIY cable making is fading fast and will be a problem for future Audio / Video people. On many threads how often have you seen ‘where can I buy one of those cables?’ -
Just playing with the track some more, the best ‘fullest’ sound is achieved by 180 deg phase reversing (inverting) the right channel and adding it to the left to give a mono track.
By just using LEFT or RIGHT the signal sounds still a little thin. -
Problem solved….. The track sounds GREAT.
The problem is that the LEFT track is 180 Deg out of phase to the RIGHT channel.
Either just use the LEFT track OR the RIGHT track but NOT BOTH.I have just dropped it into an editing program and inverted one of the channels and hey presto…. a very nicely recorded track
I bet the original poster of the thread used an ‘off the shelf’ cable incorrectly wired.
Probably XLR pin 1 to shield of a 3.5 plug, Pin 2 to tip of the 3.5mm and pin 3 to the ring of the 3.5mm plug.
The mic having a balanced O/P a positive signal will go to LEFT channel and a negative signal will be going to the RIGHT channel. -
Just a few questions first…
What sort of mic did you use?
How far away was that mic from the person talking? -
Just a few other things about the shoot….
Are ALL 36 people being involved in the shoot at the same time? Or is it going to be shot as 6 individual groups of 6?
Setting up a shoot with 36 radio mics in the one localised RF area is a huge challenge.
Is it all on location where it needs to be battery powered or can it be mains powered?
You will need a ‘Mic Wrangler’ for each group of radio mics to keep up with putting them on / taking them off and battery monitoring.How does the Producer / Director wish it to be done, logistically, financially and in what is the production work flow?
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The only way to do this sort of production, (which is becoming quite common these days) is to ISO record each track and post produce later.
There are many recorders that will do the task like the Sound Devices 788, or SD 664, many Tascam models will also record the number of tracks required. There are many other brands that may also work.Ideally you need to record each track as an ISO and also create a ‘HOT’ production mix of those tracks that would be recorded with the video, this gives the editing process a good track to work with, and the ISO tracks to ‘clean up’ with.
I’m actually playing at the moment with a ZOOM R24 as a recorder for exactly this sort of shoot (as yet I have not done any long takes to see how the syncing hold up)
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Shazam it!!!! Find some with the iPhone app ‘Shazam’
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A few questions that probably needs to be answered before you start….
Time code or NON time code recorder?
Are you ONLY using one mic for ALL your shooting?
Are you using any radio mics that also need to be recorded?
Are you doing it yourself or do you have a boom op?
What sort of locations will the shooting be at, indoor / outdoor or mixed?
What climatic / environmental conditions will you be working in?
How many $$$$ have you got to spend?
How long will the shoot take?
Buy or hire? -
Record in ‘Stereo’ mode. (that is the most desirable recording method used on film / video shoots)
In post production these 2 tracks will then be regarded as separate tracks.
Forget 4 CH mode (unless you get custom cables made) and MTR is used for music production and is of little use on a film set.The set up details are on page 51 of the manual. “1-03 Setting / Recording: Recording Format”
There is NOT a typical shoot… every job / location has its own needs and no one thing will solve the problems, you need to work through each one step by step.
Just like a fireman every fire is different with different problems and locations but they all have a common factor….
A location sound recordist is the same…. but with sound