Brian Reynolds
Forum Replies Created
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The question is what are you going to record on to and how to get this signal in ????
Most location mixers dont allow isolated outputs of each channel, you may need to hire a desk top type mixer with 8 groups or direct outputs from each channel.
What type, well that depends on the budget and what you can get hold of. -
I have made an adaptor from a 5/8″ lighting stand to a 3/8″ thread.
But mind you I do have acess to a lathe.
Something like this Manfrotto 014-38 ADAPTER RAPIDAPTER 5/8M TO 3/8.
Or try getting hold of a Manfrotto 035 SUPER CLAMP and 013 ADAPTER SPIGOT, this will give you a way to mount a mic on just about ANYTHING !!!! -
I have used the “Duck” on fixed FX mics in VERY heavy rain all i can say is brilliant but I dont know how they would go on a pole.
The “Rainman” might be better for the pole as it wraps around rather than over the top.
Radio mic packs can be sealed in UNTALCED latex gloves, this seems to work well in the rain or sweaty sports players. -
I doubt if you will find any radio mic transmiters with XLR inputs.
Possibly the best way to go is have an adaptor cable made (XLR female to whatever the input of the transmitter) this way you can use them for all sorts of uses. You will have to lower the level into the transmitter if using line level, either via a pad or some transmitters have internal gain and or mic/line adjustments.
I have several Tx units not on recognised radio mic frequencies but never had a problem (as yet) as most times you are at that location for a short time. Fixed installs might be a different story. -
We used Ch1 as the main dialogue channel and Ch2 for Fx for news / current affairs productions, mainly for ease of use with the added bonus being that Ch1 was more robust.
Often on VERY hot days in Australia 40deg C we had camera tapes fail on the edges if they were left in hot cars to long.
The original betacam audio was only slightly better s/n ratio than a domestic compact cassette (but it had less wow and flutter).
But despite its short commings of betacam it was way better than low band or high band Umatic recordings (Im showing my age now, and who can remember the sore sholders?)…..but this was a huge jump forward from Mag stripe 16mm film… NOW I am sounding old!!! -
Track 1 of the betacam is the track closer to the video section on the tape, and track 2 is on the edge.
I always ran track 2 3db lower than 1, I also did the same on the BetaSP machines on tracks 3/4.https://betacam.palsite.com/format.html
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The TV broadcast industry uses wireless shot gun mics on a regular basis but mainly for FX mics.
I have used them following golfers on the course fairways, Side lines of football/ soccer matches, Street Parades, Motor racing etc.
I have even used a low power (1 watt) FM transmitter at about 88mhz which will give me about 3km range with a shotgun mic for a car rally in a forest.
So all you need is a shotgun mic and a way to power it either internal battery or externally and the transmitter.
Most mic manufactures make internally powered shot gun mics of some sort. -
While I agree on good mic placement, remember that if the product is a DVD it is also visual and most times is a compromise between great pictures and great sound.
And most likley it will end up being played on a small screen in an office some where with small speakers. Pitty! -
The roll off on the mic will have no effect on induced AC / electrical hum as this gets into the cable between the mic and the mixer.(but the roll off on the mixer might help with this problem)
A better way to get over induced noise is keep the audio cables at least a metre away from power cables, and if you need to a cross power cables do it at 90 degrees as this will stop induced hum from that point.
If you need to buy audio cable for you kit I would recomend the use of “starquad” type cable.
I prefer Canare L-4AE5C as it will reject hum and buzz, it is also 4.8mm Dia rather than the normal 6mm cable which means its takes up less room in your bag.
You would need to use the attenuation only on super loud sounds (people shouting, Race cars etc.) But if it is that noisy use a dynamic mic they are more robust with less potential problems with the high signal levels.
I hope this helps…. -
It would depend on the mic, why you wish to roll of the bass?, can you monitor the mixer with good Headphones/ speakers?
If you were doing quick news work or working in HIGH winds then roll off at the mic.
If you were doing doco or commercial work I would tend to do it at the mixer, as most mixers have normally have several settings, this way the problem noise can be dealt with and not removing to much bottom end.
Roll off can be a problem these days as most people are viewing / listening on much better sound / speaker systems and if there isn’t the right amount of bottom end your product will sound thin and annoying compared to other programs.
Ocassionally compare your product with others produced by different people.