Jordan Wolf
Forum Replies Created
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“By ‘peaking’ I mean recorded audio that sounds ‘broken’, not any different than audio that peaks because it has gone through the roof (0db.)
To give an example, I have recorded loud laughter that when levels were set nowhere near the peaking point (the red bit in the camera audio meter). Yet when I listened to it, it was ‘clipped’ and peaking.The same has happened at numerous live music recordings, particularly at loud music events with speakers all over the stage, no matter how low I set my levels, the sound “breaks”.
I only have this problem with amplified loud music or laughter etc. Regular dialogue etc. sounds just fine.”Well, there are probably a few things at play here:
1. Level Meters – the meters on which you are viewing your signal levels have certain characteristics that make them better (or worse) for certain types of material. This response is called the ballistics of the meter. Certain meters have a quicker response, and therefore are more suited to peak and/or instantaneous levels (think drum hits). Other meters display an average of the signal level and are better for seeing what the overall signal is doing (better for monitoring multiple sources since they can combine oddly, etc.). And there are still others that combine these two types (for better of worse) and allow for simultaneous measurements of peak and average levels.
2. Microphone Diaphragm vs. Distance from Source – It is possible to overload the active circuitry in condenser microphones when the part of the microphone that changes the acoustic energy (sound waves) into electrical voltage produces too large of a voltage for that circuitry. Since the MKH416 is both a shotgun AND a condenser microphone, it may be overloaded more easily than a dynamic, cardioid microphone (think Shure SM58), especially if it is located too close to a loud sound source. The usual way this is mitigated is by use of a “pad” that goes in-between the diaphragm and the circuitry.
“Could this be because my mic is broken or is there something very simple that I haven’t taken into account? And how would I know whether my microphone is broken or not?
Or could it have something to do with the microphone’s frequency range?
(It seems as if bass sounds often come out as ‘broken’)”Again, it is possible that there is a loose component in your microphone. Everything oscillates/resonates (read: vibrates) at a certain frequency or set of frequencies and, if your source material is producing frequencies that cause parts of your mic to vibrate, you may notice distortion and/or clipping.
It should be noted that there are differences in the terms you used:
Clipping refers to the actual distortion that is heard when an audio signal cannot be accurately reproduced by the gear through which it is passing. Peaking refers to the warning lights or signals used to tell the operator “be careful, I close to clipping/overload!”.
I hope all that helps you and doesn’t confuse you. If there are any questions, feel free to ask them and we’ll be more-than-happy to help.
Wolf
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500ms of latency seems like a bit much. The manual doesn’t mention any figures, so I can’t really verify anything. I’d give JK Audio a call and get their take on it.
Wolf
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Ty Ford – “Were I you, I’d send both pieces back and order something proper.”
I completely agree with Ty. You need to get your money back and invest it in something that will work for you.
Basically, they microphone requires a small amount of electricity to work. The adapter your bought does not have the circuitry to provide the element with said power, and that is why it only gives you audio when you’re right up on the mic and/or the gain is cranked all the way up.
The reason it only works with the wireless systems mentioned is because there are different pin-outs used by manufacturers when building their gear. If the pins don’t match, power and signal will be applied to the appropriate pins, etc.
Stick with a wired microphone unless you need the freedom of movement that wireless allows. You’ll want to look at the Sennheiser ew100G3 series as the absolute lowest you can spend (it only goes up from there!). With wireless, you absolutely get what you pay for.
Look for some used Sony wired lavs…I’m sure there are some floating around on eBay, etc,
Wolf
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I recommend looking at the bulk offerings from these dealers:
Buy a 1000ft. spool and make your own – you’ll save money and learn something in the process…if you don’t want to go that route, either place also has good prices for ready-made cables.
Wolf
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“…[W]henever I say certain words with certain letters like M, N, H, G or B, I get distortion…basically those types of words will distort the sound and make it very bassy, and have a lot of reverb(?) from my speakers. So it will sound like the volume is turned way up for that word, then back down again.”
Okay, so let’s dissect this:
1. Gain staging – okay, it’s a technical term, but that’s what it’s called when you match up the various “volumes” in your signal chain. I think you need to go through the manual and see how to properly set up the mic in the computer.
2. Stop using your speakers to monitor the signal – use headphones instead. That will keep what I suspect is a feedback loop from causing the bass build-up. FYI: omnidirectional mics are known for their LACK of bass boost when you are close the them, so this is unusual.
That should help immensely. Also, try getting closer to the mic. The reason most people stay away from the mic is because of the bass boost mentioned earlier (called proximity effect). Every time you half the distance between the source and the mic, you gain a FREE 6dB of level. Use that to your advantage.
Wolf
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“…I am stuck trying to get the best sound that I can get with what I have.”
Okay…well, what do you have to work with? A 2-track recorder? A standalone 24-track recorder? We need to know what you’ve got to help.
Here’s my take on it:
First, advance the show with the crew at the venue you’ll be recording at. That way, you can at least let them know you’re coming in to record the band.
Next, set up a pair of mics near either (a) FOH (the mix position) or (b) somewhere in the crowd, out-of-line with the mains and close enough to capture the stage sound.
Third, if you can, set up some audience mics to pick up the crowd noise and room tone (think natural reverb). Try putting placing the mics so that the main speakers are projecting into the null of the cardioid pattern of the mic.
It really is difficult to get a worthwhile mix if you’re not concentrating on JUST mixing. I wish you luck and hope to hear updates from time-to-time.
Wolf
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Sennheiser’s e8XX mics are about as warm as you’ll get. I recommend trying an e845 if you want a bit of a different flavor. If this is for interviews, a long-handled mic will work nicely.
Remember: the closest AND loudest source at the mic wins.
Wolf
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“I knew from past experience that hardwire offered better audio quality but was just wondering if wireless technology had advanced enough to give it a try.”
Well, you’re not going to get it for cheap. The wireless system you’re looking for is “companderless” and comes at a fairly steep price for that innovation.
Wired gives you:
1. Less stuff to go wrong
2. Fewer things to sync up and maintain
3. Lower cost
4. Longer transmission distance (say, oh…600ft or more; 1,000ft isn’t out of the question if you use the right type of cable and connections)Wolf
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PZMs are nice until someone gets animated or emotional…then they slam their fist down on the table…
🙂
Wolf
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JK Audio makes one that uses a cable or two, but with so many devices including bluetooth nowadays, it might be beneficial to do it wirelessly.
Wolf
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