Greg Curda
Forum Replies Created
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Hi Max,
The essential problem here, is there is no standard set of tricks to “enhance” sound. What is it about the sound you don’t like? Why does it need enhancing?
Like you, we use tools to fix problem areas and rarely enhance things for the sake of enhancing. We need to hear things first to see if there is really a problem or not. Picture is something that you generally want to notice. Sound is something that you don’t want to notice. It must flow and be natural, so your attention is not taken away from picture.
That being said, let’s go back to basics. You should not use both boom and lav together. You must pick the one that sounds best and only use that.
If you choose the boom, you may, as Peter suggested, want to decrease the low end a little to get rid of rumble, and possibly lessen the reverb effect of the room. Try a high pass filter, 24dB/octave, at 80Hz.
If you choose the lav, it might have less low end already, maybe not enough, and it might sound a little “bright”. You may need to lessen the high end in that case (try a low pass filter, 18dB/octave at 8 or 9KHz). If too “tinny”, you might need to put some lows back in.
A bit of compression might help smooth the track out, but there are many dangers here. Overcompression might make the backgrounds “pump” as the processor kicks in and out. Also you might tend to lose high end as you compress. You can experiment with the ratio (maybe start at 5:1) and the threshold (maybe start at -12dB). Be aware that your volume levels will change as you experiment.
These are off the cuff ideas and certainly not standard procedures. They may or may not help. Sound is an incredibly complex area with results measured in a very subjective way.
Let us know how you fare…
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Hi Jim,
LCR is the film standard, LRC is the SMPTE standard. The difference was designed to confuse everyone and foster many debates about which is correct. I think LRC was developed to maintain consistency with stereo formats, with the first 2 tracks always being LR.
No one has been able to sufficiently explain this to me so, for HDcam masters, I ship my tracks L,C,R,Ls,Rs,Lfe. And subsequently, no one has ever called me to tell me I’m a buffoon.
Perhaps some of our other members can shed some additional light. I’m interested, as well.
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Hi Ben,
Are you the sound man on this show, or the producer? If you’re the sound man, you should invest in quality equipment that will last you for many, many shows. You can’t expect to pay off the gear in 1 show. If you’re the producer, you should hire a sound man, with proper gear, who will do the show for the amount you have in your budget.
Am I missing something?
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What happens when you use the “Duration” or “Speed” settings, under “Modify” in FCP? Too many artifacts?? It is a 5% change, which for most “time/pitch” plugins is on the edge for a clean conversion.
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Hi Lou,
email: greg@gefhgroup.com
skype: bf.greg.curda
And please tell me what plug ins were used… I’m an old analogue guy who still does things pretty much by the book, and I never rely on a plug-in to get me out of a jam…but I would love to be converted!!
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Hi Lou,
Can you post a sample of the track, raw and processed?
I would love to hear this. I don’t claim to be a digital expert by any means, but I’ve never heard any noise removal, or restoration plugin that didnt leave very audible artifacts… I would love to be wrong on this, and would consider it a great joy to be exposed to something that really works…
Thanks,
G
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Hi Ty,
A little off the topic, but…
There aren’t enough good things to say about that mixer. I have always been so into my CS104, but almost traded for a 442, after using the latter a few times. Now the CS104 is a collector’s item, so I’ll never sell it. The 442, however, has complete flexibility, if you know how to apply the features. I thought nobody could ever beat Andy’s limiters, but SD’s dual limiter system makes it almost too easy!! I have the MixPre and MP1 and love those for almost no weight run and gun EFP, or MS SFX recording. If they ever come out with a panel mixer, they will rule!
If anyone were to buy a new mixer now, I can’t imagine buying anything other than a Sound Devices. I’m told that the SD team is comprised of a bunch of engineers from Shure. Rock on, guys…
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I’ll just chime in…hehe…
I have med and large PSC/VdB cabled poles for ENG, and L and XL (18′) VdBs non-cabled for features. I’m not so lucky as Ty, for I have had the 18 footer at full extension with an MKH 70 more times than I care to remember… Now my back hurts…
If you get an internal coil cable, you will have to develop a very steady boom technique… The cable has a tendency to rattle around if you’re not careful… But the convenience is great.
G
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Try a combo…use the metal screen first, then find a thin foam that’s big enough to fit over the metal screen. It might be a little bigger than you want, but it will thwart the casual breeze, and if you get a few colors, you might be able to match wardrobe convincingly. High or constant wind is another story…gotta move to a windjammer, or hide inside clothing. You might get lucky if the wind is at their back…
for foam: https://www.markertek.com
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One more consideration…
The omni is much more forgiving when it comes to head turns, or any kind of movement by the talent. Also, if you have 3 people and 2 lavs, you have a fighting chance of picking up the 3rd person with careful placement. Cardioid is good if the talent never moves, like newscasts. Cardioid lavs also have a little more reach when used as plant mics.
Lavs are generally less susceptible to BG noise than shotguns, especially if you can put talent’s back to the noise. If you can have both, then do it. If I could only have 1, I would pick the omni.
G