Jordan Wolf
Forum Replies Created
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Wanted to add this:
Sidechain could also be called a “key input” (a la ProTools).
Wolf
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You should do some research and look at “de-essing”. As Ty says, they may go by other names (sibilance filter, etc.), but they should all accomplish the same thing.
Most sibilance can be found from 3kHz-7kHz. What you are looking for is a filter, plugin, or device (outboard gear) that can compress a certain frequency/frequency range when it exceeds a set threshold.
A compressor that is sidechained to a parametric equalizer can be made to do this, more or less, and is especially useful for sound reinforcement people like myself when dealing with artists who have less-than-perfect mic technique.
Basically, you’d put the EQ in the “sidechain” of the compressor, boost the EQ at whatever frequency you wish to tame, and the compressor will keep the level down when the threshold leve is exceeded.
Also look into “dynamic equalization”.
Hope that helps!
Wolf
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Can you rent one for a non-important shoot and give it a test run? That’s my preference – always try the gear in situ so that you know how it will function when put into the situation you have in mind.
Wolf
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Eliminate all the variables that you can. Take out the audio cable from the back of the monitor and see if the buzz goes away. If it does, you may have a bad connection at one end of the cable (intermittent or shorted connections).
Are the monitors plugged into the same circuit? If so, then try to find out what else has been plugged into/added to that same CIRCUIT (not just the outlet) since you first noticed the buzzing. If they are not plugged into the same circuit, make it so and note any changes.
After you’ve done all that, it may be prudent to contact the manufacturer and see if it’s covered under warranty.
Good luck!
Wolf
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Rent a mixer and a room mic or two and get a feed from the mixing board for the sound reinforcement system. Use the rented mixer to blend the feed from the SR console and the room mic(s) you also rented. Make sure you have a pair of headphones that are able to isolate you from the external noise.
I also recommend hiring a sound person to help you. Mayhaps you have the budget?
Wolf
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Thax may have something here…
The unbalanced line might not be playing nice with your balanced input. A truly balanced input will only allow the differences in the signals of each leg to pass (noise is the same on both legs, so it cancels out). It may be that the Tip and Sleeve of the unbalanced connector are giving the Tip-Sleeve and Ring-Sleeve connections of the balanced (and not auto-unbalanced-connection-sensing) connection the same signal, thus causing a cancellation of most of the audio.
What you’re hearing could also be due to an impedance mismatch.
Wolf
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Make sure that your camera’s inputs are set for Mic Level and not Line Level – if they’re looking for Line, you would really have to crank the gain up.
What camera are you using?
Wolf
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“Sound Devices just debuted the 552, a five input mixer combined with a two track recorder. Very cool. Very high quality.
https://www.sounddevices.com/products/552.htm”Hey…that’s spiffy! I’d look into that if I had the need to. 🙂 Nice find.
Wolf
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Ty does have a point.
If it’s her own music, get signed permission (just in case). If it’s not, make sure it’s old enough to be considered for public domain.
OTHERWISE…don’t post it, sell it, or play it anywhere until you get the proper licensing to do so. It will cost money.
Wolf
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What to look for:
First, you want to make sure that the recorder has the correct connections on it for your uses (XLR, mini-XLR, 1/4″TRS, 1/8″TRS, Firewire/USB, etc.). Then, you’ll want to find out how many tracks it can record simultaneously, at what bit rate/sample rate, and for what length of time. Data storage capacity should also be taken into consideration (is it: fixed, upgradeable, swappable, etc.).
After you’ve found units that fit those criteria, you can move on to customer reviews and torture tests, if available (check youtube). Those will tell you about the durability and reliability of the units.
NOW THEN…you seem to have your budget in mind – around $450USD maximum, I take it. If you’re looking for brand new units, there aren’t really any standalone multitrack units out there for that kind of change, but you can search for used ones (my recommendation). You might be able to make your original choices work, I guess.
With the devices you listed in your post: if you want to record more sources than are allowed by your devices’ I/O capabilities, you’ll have to buy/rent a mixer (and don’t forget the mixperson, either) and mix everything down LIVE AND ON SET to a stereo/dual-mono recording, which you can work with in post-production. A quality mixperson will be able to give you very workable results so long as you accomodate their needs for soundcheck and TAKING THE TIME TO GET THE AUDIO RIGHT THE FIRST TIME.
Let’s keep the ball rolling…anyone else?
Wolf
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