Jordan Wolf
Forum Replies Created
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Ty, if you’re ever going to host a workshop like that again, please let me know. I’d love to attend, since I’m not too far away. Heck, I can make a day of it!
To the OP: where in Northern IN are you? I went to college in Huntington, IN (46750) for broadcasting but got extensively involved in the film and post-production side of things in the last couple of years there…all focusing on audio. Maybe I can refer you to some people/places if you’re close. Let me know via this forum or e-mail, if you’d like.
Wolf
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Well, that may be true for this unit, but a number of others do have balanced inputs that are also on mini TRS jacks (I think the Zoom H4n is this way). I should hope that the user manual would let the user know this, but they don’t always get read before use.
Wolf
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Thax is correct, but I will add that you are using unbalanced cabling. As long as your keep your cables short (15ft or less to play it safe) and keep other equipment away from them (listen for noise when recording and move one thing away at a time), I think you’ll be fine that way. Just realize that there is a much greater potential for interference due to the unbalanced connections.
Wolf
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Hi Stan,
To answer your first question, you first must understand the concept of “dynamic range”. Dynamic Range is the difference between the loudest sound and the softest sound in a selection of audio. It is usually measured as Sound Pressure Level(SPL) as given in decibels (dB). For example: the human voice has a very large Dynamic Range (let’s estimate 120dB).
When you apply compression to audio, you are taking the original, very wide dynamic range (110dB) and lessening it so that the dynamic range is not as large (55dB). This allows the loud parts to be tamed and kept in proportion to the softer parts. The settings I recommended to you will be gentle enough to only affect the audio when it gets a bit too loud.
Using the numbers from before: a 110dB dynamic will be compressed to a 55dB dynamic range if a ratio of 2:1 is used. That is, for every 2dB of input, the compressor only outputs 1dB, effectively cutting in half the dynamic range. To be realistic, let’s say that most people talk at around 70dB.
Now then, on to the next part: if that individual has a dynamic range of 110dB, then they have the potential to sound 16 times louder if they shout than if they talk “normally” at 70dB (110dB(“shouting)-70dB(normal talking)=40dB). The reason that it sounds so much louder is because, to the human ear, a gain of 10dB is considered twice as loud. So, for every 10dB increase, you double the “loudness” of the sound. I hope that all makes sense. If you have any other questions or are confused, let us know.
As to your second question: yes, it is very possible to use FCP to apply compression to your audio. It’s been a while since I’ve used it, but you might check under Audio Filters or a similar menu listing.
Use compression sparingly and always trust your ears – what really matters, after all, is how it sounds. If it sounds good, it is good…end of story.
Hope that helps.
Wolf
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Take a look below. I’ve used stuff from there for a number of (past) student films.
Wolf
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Stan,
The overall level sounded fine to me and nothing really jumped out. You may want to use some light compression just to even it out some more. Try a ratio of 3:1 and set the threshold so that there’s around 3dB-4dB of gain reduction, and, even then, only occasionally. The attack time should be fairly short and the release time should be somewhere in the middle of its range. Apply around 3dB of makeup gain, and I think that should do it.
I can’t listen to the clip at full volume right now, nor with the best speakers, so keep that in mind, also. If it’s going on the web, I’d expect it to be squashed pretty bad when uploading to a site for streaming. Either way: go for the highest quality you can.
Wolf
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Rodney,
I routinely use Shure E3/SCL3 IEMs for monitoring (on-location audio and monitors for performers on stage). I have found them perfectly acceptable for my uses. I’m not a big fan of multiple-driver systems as they fatigue your ears more quickly.
If you are going to use them all the time, I think it would be in your best interest to get custom molds. The cost is pricey up-front, but in the long run, you’ll reap the benefits of better isolation, low frequency response, and a much more comfortable fit.
Wolf
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Yay for Audiopile! Mark & Liz are wonderful to do business with, aren’t they?
Selectable pads are a great thing – just make sure to not skimp on components, lest your (the OP) circuitry not be up-to-snuff and distort.
Wolf
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There have been a number of improvements in rechargeable batteries, but it takes a bit of research and comparison to be able to choose the ones that suit your requirements.
Wolf
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I have not tried Double M-S in the field, or even normal M-S anywhere but a studio recording type of setting.
That being said, I would love to try it sometime and hear the results.
Does anyone know if “No Country For Old Men” was done with this method or similar? I only got to hear it in stereo, but the sound design was fantastic – a good dichotomy of simple audio with complex preplanning, I’m sure, since there was so much nat sound involved. Either way, props all around for such a refreshing audio perspective.
Wolf
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