Jordan Wolf
Forum Replies Created
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I assume that you are talking about a video documentary? So, sight lines will be a concern, correct?
If that is the case, then you’ll most likely want to use a small-diaphragm condenser (pencil mic) either stand- or ceiling-mounted. You could try some boundary microphones (Crown PCC-160 or similar) mounted on sheets of plexiglass, but I think that would be too unsightly.
I would use 1 mic for every 3 people, or so; that makes 5 mics – I would use a supercardioid pattern, as I feel that’s a good compromise between a cardioid (too wide+too much room reflections) and a hypercardioid (too narrow pickup pattern which can lead to drastic level changes with people not staying in the pattern).
Whatever mics you use, you’ll want to observe the 3:1 Rule so that audible phasing between the various mics is kept to a minimum.
Wolf
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“All I’m looking for is something to assist the operator in ensuring proper levels, as well as clean up the signal a bit.”
Well, you need to make sure the levels you are getting are within the tolerances of your gear’s inputs. Are there any free post-fader Aux Sends on the FOH console? If so, I would use one (two, if possible) and get levels set during sound check. I would insert a compressor (like the Compeller or a TC Electronic C400XL) into the Aux Send(s) and set a ratio of 4:1 with a fast attack and fairly fast release time. If there’s a “knee” control, set in in the middle (not hard, not soft). Set the threshold so that there’s around 6dB-8dB of compression at the most. I highly recommend a multiband compressor of sorts, as that can really clamp down while not destroying the mix.
Just my thoughts.
Wolf
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Your English is fine, Carlos. No worries…
I did notice the fluctuating noise you refer to. First, there are a few questions that you need to answer for us:
1. What frequency range does your wireless microphone system operate in? This will be expressed in MHz
2. Did you search for already-occupied frequencies in the area in which you were recording this audio?
3. If there is an adjustable squelch setting available on your wireless system, it should be set to the lowest setting while still not allowing static to enter the signal. What is it set to currently?
Wolf
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“What kind of interface do I need to turn the analogue files into digtal ones for the computer?”
– Uh, what do you mean “analogue files”? Are you recording to tape and needing to transfer the files over to a digital format? You need to be more specific.Most of the time, when talking about using a device as an audio interface, there is a program on the computer that will record the signal and store it as data on the hard drive. The Analog-to-Digital conversion takes place in the interface you use.
“Am I right in assuming I can use the SD preamps so I just need some brand of firewire or usb converter rather than a converter which is also an amp?”
– Yes, the preamps in the 302 will boost the signal up to a usable level for any pro gear down-the-line (that’s why it was created!).I would still recommend an interface with preamps, however, as they are more versatile and offer a higher resale value. Sometimes, you can simply bypass the preamp section of the interface by using the Line Input instead of the Mic Input. This depends on the circuitry, though, so when you find some interfaces you like, compare the specs yourself or tell us what the interfaces are and we will gladly take a look at the block diagrams for you. 🙂
Some interfaces also have digital I/O (S/PDIF, AES/EBU, and/or ADAT Lightpipe – among others) that will take care of the Analg-to-Digital conversion of the input signal for you. I think the Mac G5s and Mac Pros have optical I/O (which might accept ADAT Lightpipe…you’ll have to check that one out, though).
Look into MOTU, Presonus, and Focusrite.
Wolf
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Stan,
First things first: do you have permission to touc the fridge? I know I’ve done a number of shoots inside the houses/apartments of people who were willing to let us shoot there out of the goodness of their hearts. Make sure you get permission to open the fridge and adjust things as necessary. Also make sure that both you and the owners understand what exactly you’ll be doing (stay on the same page).
All that said, if you’re worried about the ice maker making noise, most of them have a lever that switches off ice production when a certain amount is in the tray/bucket. Check to see if there’s one there. Download the manual for the fridge the night before and check it out.
If you can pull it out with a handcart, do so. MAKE SURE YOU PLUG IT BACK IN!!!!! Or, you’ll have some VERY angry people (and rightly-so!).
Moving blankets work well for dampening noise from microphone pick-up, but they may still introduce hum if you’re too close to the fridge unit.
Good luck and tell us how it goes!
Wolf
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For simplicity’s sake, I’ll assume your camera has XLR inputs.
Out of the two mics you listed, and from MUCH personal experience using them for films and sound FX recording, I would definitely go with the Rode NT-2.
HOWEVER…and that’s a big however, IF you want to buy a microphone that you will NEVER regret having purchased, I would recommend the Sennheiser MKH-416. Scrape and save until you can afford one – it’s an industry standard for a reason! That’s not to say that it is the be-all-end-all of shotgun mics, though (that’s the Schoeps CMIT5U, lol).
You might also look into the Rode NTG-3.
A hypercardioid microphone is a great type of micto have indoors – an Audio-Technica 4053b seems to get good reviews here.
Wolf
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How much is your equipment/data worth to you? If you’re going to spend money on the proper online, true sine wave output UPS (and you WILL spend money), you should at least do it right the first time.
If you can’t fork out the cash now, wait until you have it then go shopping.
Take a look here at Andy Peters’ post. That should help clarify some things.
Wolf
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Randall,
If your interface only has 2 inputs, you will only get 2 mono signals, or a true stereo signal, if you choose to go that way.
You could rent/buy a mixer (and a mix person) that has more inputs. That would allow you to combine more signals and send them to the 2 channels on the interface in an already-mixed state.
Wolf
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Okay, so let’s condense this down a little bit:
Symptom: Static coming from a wireless microphone system.
Variables Eliminated:
1. Input cable (from mic element to “mini” connector)
2. Output Cable (from receiver to camera input)
3. CameraVariables NOT Eliminated:
1. Wireless Transmitter (input jack, wireless frequency selected, squelch control)
2. Wireless Receiver (output jack, frequency selected, squelch control)Actual Problem:
1. RF Interference
2. Bad Connection (intermittent, oxidized, etc.)How to diagnose the actual problem:
1. RF Interference – verify that your wireless system is not using the same frequency range as that of local TV stations and other broadcasts.2. Bad Connection – For “intermittent”, which can happen from repetitive insertion/removal of plugs into jacks, you can wiggle the connector while it is seated in the jack to try and recreate the static. The jack might be mounted to the PCB inside the wireless unit and might have come loose. For “oxidation”, usually caused by exposure to moisture, salt water, etc., you might try some Caig DeOxit.
How to fix: If not user-serviceable (change of frequency, squelch setting, etc.), return to factory for repair.
That’s my take on it.
Wolf
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Why don’t you try a little experiment:
Step 1: Record audience watching film.
Step 2: Import audio into desired DAW.
Step 3: Flip the “phase” of the original film audio.
Step 4: Line up flipped-phase original audio with recorded audio from movie screening.Results: Well, they might not be what you’re looing for, but there will be a bit of cancellation of the original movie audio. Tis is primarily because of the boundaries in the recording space (the screening theater) and the reflections that cause the same sound to arrive at different times, thus causing comb-filtering and the like.
Try it out and listen to the results – at the least, it would be a learning experience.
Wolf
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