Jordan Wolf
Forum Replies Created
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The bra strap is popular as (most times) it’s already in place for you to use.
In situations where the talent is wearing form-fitting clothing and transmitter bulges are a no-no, you could use an ACE Bandage wrapped on the inner thigh or leg. You could also separate the transmitter from the body if the talent is wearing a hat or other similar accessory.
Also, if the talent sweats (at all, really…yes, this includes women) you should use protection – unlubricated condoms are cheap, available at many places, and are used widely in the theatrical field.
Wolf
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Ty,
I don’t know if you’ve seen this, but Presonus makes a handy little controller that might suit your minimalist preference
Wolf
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…EK 100 G3 Reciever linked with Levalier clip-on microphhone M4 is really noisy…
Make sure you have the microphone plugged into the transmitter and not the receiver (sounds dumb, but I’ve seen it before).
Next, use this online tool and find out what frequencies work for your area. Change your settings to reflect the open channels. If you’re in another country, you can easily find it on Sennheiser’s website.
Make sure that the input you are plugging the receiver into is set for Line Level, NOT Mic Level.
Wolf
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Fernando,
Here is my recommendation for buying an acoustic guitar (or any, for that matter): buy it for the tone. Find one that has a sound that you like. Don’t worry about how it really feels when you play it, or the response of the strings, fret buzzing, etc. Those are all things that a session with a professional luthier can fix (and it will be money well-spent).
Let the luthier see how you play and they’ll make adjustments to the guitar’s neck, frets, strings, etc. so that it will work with you and you won’t have to fight it.
Oh, and Ty, Washburn makes some guitars that have XLR outputs, as does Taylor and Macpherson. If anyone is looking for a simple, passive DI, check out this one – no unnecessary buttons and it’s a nice size. Plus, the Jensen transformer is nice and imparts no color to the signal. For active, I prefer Countryman, Radial, and Whirlwind.
Wolf
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Google Docs has some document templates that I use for my sound reinforcement/install stuff.
Wolf
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I say mic the guitar no matter what. Unless he has a custom-installed pickup system that has both a pickup AND a mic, it’s not going to sound very good.
If sightlines are a problem, I’d go for a Countryman ISOMAX 2 with the appropriate clip. Move the mic around until you get the desired tone.
If he does have a nice pickup/mic system installed, you’ll probably need one or two DI boxes to interface properly. Make them active, as the input impedance should be nice and high to keep the tone of the guitar accurate from the pickup.
Wolf
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Well, I understand where you’re coming from. I’m not a huge fan of my own voice either – at least when it comes to speech (singing is completely different – I very much like my voice for that). I normally run sound systems for concerts, etc., so I hear my voice a lot when I get things dialed in before the talent shows up.
Anyway, I recommend using a tube preamplifier or tube compressor to add some “warmth” to the recording. It is up to you if you use it to record directly or as an effect (I prefer the latter since it leaves a clean slate for editing). After that, you may want to fiddle around with some EQ in the 250Hz-300Hz range to add some strength to the voice (the male vocal fundamental frequency is around 250Hz). Don’t add too much, as it can make it sound boomy and inarticulate. A small (3dB at most) boost in the midrange can help, too…try around 800Hz or sweep around until you achieve the desired effect.
Garbage in = Garbage out – and please realize that I am not saying that your voice is “garbage”. What I AM saying is that if the source material you are putting in is not similar/close to the desired sound you hope to get out, there’s not much chance of the end result meeting your expectations.
Wolf
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1. Voice coaching
2. Proper microphone selection
3. Proper microphone placement
4. Proper microphone technique
5. Light multi-band compression
6. Tube saturation (or a combination of 5 & 6)
7. An accurate set of monitors to hear playback, etc.Start with that before we move onto software programs.
Wolf
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1. Now this isn’t real stereo right? Its just the single mono recorded on two channels?
Yes.
2. If I split the stereo pair into 2 mono tracks and set one to left and the other to right, it should be the same?
Yes.
3. And if i just put a single mono track but set the pan to 0, that is the same effect?
Sort of…see the other post above. True stereo sound files will have tracks that both counteract and combine with one another to create the stereo image. Our ears rely not just on amplitude (read: volume) but also on the difference in timing of sound that reach both ears to convey spatiality.
If you crunch the numbers (using the width of your skull as a reference point), and figuring that there is roughly a delay of 1ms. per foot, the delay from one ear to the next is probably around half of one millisecond. This, along with the magic black box that is our brain, allows us to perceive direction and orientation of sound.
You will also probably notice what is called “comb filtering” – this is occurs when the same signal is played from two sources that are in different locations. Basically, certain frequencies combine and cancel to give your ears a thin, nasty-sounding mix that can be detrimental to the final product.
Find the sweet spot of your monitors and also do some experiments to find out more. Pink noise works nicely for finding out what comb filtering sounds like. Run it from both speakers and move your head up/down, left/right, and look from side-to-side. Notice how your ear position affects the quality of what you hear…
Wolf
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Just wanted to say that “yes”, there IS solo capability on the 1202 (VLZ, VLZ Pro, and VLZ3). It may even be switchable between PFL and Solo; I don’t know myself.
So, I don’t know what you guys are thinking of…it’s late and maybe I’m not getting something.
Wolf
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