Greg Curda
Forum Replies Created
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Anthony,
Did you resolve the problem? What was the solution?
G
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Hi Scott…
Almost all lavs are electret condensers and require power. Your G2 system should supply that power. The K6 can be used for hardwire applications.
Please just contact the service dept at any of the places I recommended and discuss the options. Then there is no more hypothesizing about the situation. Tell them you want to use your MKE2 with youe G2 system but still retain the original connector and the ability to hardwire with the K6. See what they say. I think it’s just an adaptor cable. Maybe $40 max…
Re: Microcat: I’m sorry, Sam, but I have not found the Microcat to help much. Not that much wind protection and very scratchy when hidden. I love Glen and Remote Audio, but the microcat has never worked for me. But that was when they first came out, and mabbe the new ones are better…What has worked is the Rycote line of lav protection (Undercovers, Overcovers, etc.). But, they were kinda designed with the COS 11 in mind, so it was easy for me…
The best ever wind protection ever was the Rycote lav softies, which I don’t think they make anymore (naturally)… They were way too big to use on camera, but if you cut them in half and wrapped the capsule…voila…no wind…no cloth rustle if hidden. And reusable.
Everyone has different experiences, so take that into consideration.
G
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Hi Ben,
No prob…but again I’m still unclear on the scenario… Are you purchasing gear for the production company? If so, do you intend to use this gear on multiple shows, or for years to come? Or is this a one shot deal?
The idea is that gear should be able to handle any situation, hence there are many ways to capture dialogue in moving vehicles… No particular gear is better for that than anything else. It’s just another challenge. It has mostly to do with mic placement, cooperation from the talent, and a clean audio path. The 302 is a complete and lasting piece of gear… The thing I like most about it is the limiter setup. It’s virtually idiot-proof… If you will have a number of different sound guys and always provide the gear, it would pay for you to get a bullet-proof system that is consistent and reliable. Consistent and reliable are two of the benchmark keywords that mean the most to me…That way, your basic sound will remain the same, shoot after shoot. The 302 is simply better built, with better components, all around.
I guess I don’t know what more to say without clearly knowing your intention…
G
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If the gig isn’t already done, I think I would play it safe, rent 2 hardwired Sanken COS 11s, or 2 Countryman B6s, heck, even 2 Sony ECM 50s, with tie/lapel clips, place each lav for the best sound (maybe midway between collar bone and sternum), plug those into the camera and go, recording each channel separately. At least your mics will match. Then it’s just a question of levels…I might even be tempted to use…gasp…the auto gain function, especially if the interview will be spirited or prone to sudden outbursts, etc. I think on the EX1 if you set the levels lower, the auto gain won’t kick in unless you need it, like a limiter…I could be wrong on that, so some experimentation and research is called for. Otherwise, just watch the levels (trying to set both mics at the same level, if possible) and don’t get any peaks higher than -6 and not softer than -20. Experiment with this yourself and then verify and modify when talent arrives.
Then in post if your levels are correct, you should be able to cut back and forth, keeping the BG smooth, without having to have 2 channels open all the time…The key is matching the BGs so each cut goes smoothly across. If the room is really quiet, you could even leave both channels open, and let it rip at a constant level. This way, your BGs match by default.
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Hi Dan,
To amplify Ty’s point, why would you need RAID? It seems everyone elses PTLE systems run fine just using straight project drives, no RAID… In fact, I’ve never encountered a PT system that had a RAID array. Is there something we’re missing?
G
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Hi Ben,
Well, the reality is that a good sound mixer can make almost anything work. The basic build quality of most gear is what determines the price. Yes, marketing plays a part, but not so much with pro sound gear. Features are worthless if the preamps are noisy…Clean sound is the goal. I don’t know the Azden unit, but I can’t imagine for that price point that the pres are that clean. Maybe someone will prove me wrong, and I would love that. Also it seems the inputs are mic level only, and the outputs are line level only. Less flexibility than I would want. I do, however own a Sound Devices 2 ch MixPre with the same features and use it all the time, but it is super clean, built like a tank, and the limiters are superb. It is around $750 I think.
Bottom line for me is start with a clean sound. That requires good components which are more expensive. Sound guys who are serious about their craft make an investment in their future, as you would in any other business. It is their skill set, built over time, combined with the strength of their package that gets them work. Pro sound is a cost intensive business, but the gear lasts for a long time and is not, for the most part, easily outmoded. My production packages have served me well for over 10 years and paid for themselves at least twice with moderate usage and no significant upgrades. Yes, it was expensive, but the investment produced a greater than 200% ROI over 10 years. That’s 20% a year… good enough for me.
So, it is possible to get the results you want. by selecting a skilled operator with good gear, who will do the job for the amount in your budget. I would not expect the sound guy to make his equipment selections based on what he will make only from your show. If that’s the case, I would find another guy…
Just my thoughts.
G
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Hi Susan,
Well, if you’re seeing an empty hallway, the sound can’t be totally devoid of reverberation…that’s what an empty hallway sounds like, right? The trick is to get the right amount of reverb. Unless the client wants none at all…
You could boom with a hypercardioid mic (not a shotgun). Keep the dialogue shots tight, or if you have to shoot wide masters, shoot tight coverage and steal the dialogue from the tight. You will still get some room reverb, but you can adjust it to some extent with mic placement.
You could use a lav, taking a little bit of time to find the right placement on the body for the sound you want. Standard lapelish placement should be ok. Then you can shoot masters and coverage, no prob.
You could cover reflective surfaces that are not in the shot with packing blankets, or similar material, and cover the unseen floor, as well. You could even drape blankets on C stands, just out of the shot.
Or, if your talent is pro and does the dialogue the same way every time, you could record dialogue wild in a less reverberant space, if you need tight dialogue without room reverb. Do this right after the takes, so it is fresh in talent’s mind.
Or you can ADR later in a studio, or makeshift sound booth. You can construct this from foam, or blankets and C stands too, and shoot it on location.
Once you have a plan, you will have to do sound tests to get to the quality you want, and get it approved, not just hope for the best.
Unfortunately, there are no magic plugins that can remove reverb in post, so get the best you can on production.
G
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Thanks again, Bouke…
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Yeah, you’re right TY, I usually only use the Shure for a crowd mic and sometimes a quick live music recording, but it has gotten me out of a SFX pinch from time to time. I have the AT with both cardioid and hyper capsules…it’s very nice too… I will use the AT in higher damage risk situations (its very tough) and on particularly screechy female talent (it’s very smooth).
I have an old NT-1 and have used it a lot. The NTG-3 sounds very good. I had forgotten how good the Rodes are. Thanks for the reminder…
https://www.youtube.com/watch?v=FbzNgmrCBQs
I’m generally loathe to sell mics, unless I really need the money. All my Senns, for instance, are selling for almost twice what I paid for them. A good mic arsenal is probably your biggest tool. I have used everything I own at one time or another, even as a prop…clients seem to like a lot of mics, and it gives experience with many mic types. I’d keep the stereo Rode if you can…never know…I haven’t heard it but I’m sure it can’t be that noisy, eh?
G
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Bouke,
Wow! That’s a lot of info. I guess you’re the TC guru! I understand it to an extent, then my brain freezes…it just doesn’t “feel” right to me. I guess we have American Television to thank for all this…hehe!
These are general principles that are confusing to a lot of people, me included. I think it’s fantastic that there are guys like you who really understand this stuff and can help prevent the rest of us from falling into that great chasm of misunderstanding.
Am I right in thinking that the change of frame rate, and frame rate descriptions in general,are only important for sound when it comes to matching picture? While picture makes frame rate conversions, sound makes sample rate conversions? For sound, time is still time, right?
Thanks for taking the time to explain and share your knowledge.
G