Jordan Wolf
Forum Replies Created
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Please Note: by “professional”, I was referring to the on-location audio field. I do realize that the OP has much recording experience and probably knows much of what I said above already. I figured others could look up the thread and come to some realizations about their goals.
Also, in no way did I meant my post to sound condescending to the OP. He has almost more years’ experience in recording than I do at living on this planet and I cannot argue with experience.
Apologies if offense was taken.
Wolf
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If you want professional recordings, you must use equipment and techniques that reflect that professionalism. There is a reason that they use the gear that they do. Most of it is single-function (a microphone picks up sound in a desired fashion, a mixer blends levels of different sources, etc.), and is connected to other gear that, likewise, has a single function. This all lends itself to having gear that is very good at what it does – and simply because it cannot perform those other functions, it does not excel at them. All of this adds up to a “bulk” of gear that the professional realizes is needed to capture/produce audio to the standards they strive for.
Granted, there is definitely good gear that has multiple functions, but the main point is this: the right gear is the right gear. It takes quite a while to figure out what works when, and how it does so consistently.
If you want professional recordings, you’ll have to use professionals and their gear. If you are a professional, then it might be time to invest in said gear.
If you’re not (and it’s alright if you’re not), then it is best to hire someone who can get you the results you desire.
Experiment with what you can – if that means getting a Zoom H2, do so! You’ll learn much even from that, and the device will always be handy.
Please don’t take anything said here as meant to squash your determination or dreams – take it to heart, mull it over, and see what things you can do to improve what you already have going for you.
All the best,
Wolfman -
To add on to what Ty said:
Comrpessed audio has a higher AVERAGE volume than uncompressed audio. This means that if you listen to it at the same volume setting, it will seem louder. You can try it on your radio: tune into a rock n’ roll station, listen for a while, and then tune into a classical music station. The compression has limited the dynamic range (difference between the loudest of softest audio), which thus increases the average level.
Also, do realize that there is still some lag in the metering in FCP, simply because the processor must, well, process the data you are looking at/listening to. Make sure to look at the waveform of the audio you are listening to – it will tell you much about the levels you are hearing versus what the meter’s are displaying. On a compressed audio clip, there will be less variation between the peaks and dips in the audio.
Wish we could help you more with the problem you are having. It’s best to work on 1(one) variable at a time and move on ONLY after verifying that varible is not at fault.
Wolf
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Screw the preference – this is about what will best capture the source audio.
Why not rent the MKH416, buy an E6, and use both – then choose which one sounds better in post-production? You’ve got 4 channels of nice preamp to work with…I say use it! You can ALWAYS find a use for an E6 (works great on-stage for corporate productions and violinists). Shotgun mics have a more limited use as compared to an E6, in my opinion.
Wolf
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Well, sure: you just have to feed them some P48 and exercise their diaphragms. They can get a little stiff from being in the mic locker for too long, ya know?
Wolf
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Ah, I see – my mistake.
Are you considering buying one because of said review? 🙂
Wolf
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Ty recently purchased a TLM102, I believe. I heard the recording of it with an acoustic guitar an was pretty impressed. I wasn’t listening through reference monitors or anything, but most clients won’t be either.
Make sure you audition your mixed/remixed material through sources similar to those your clients will be listening to.
Wolf
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Is the Rode Videomic also good for band performances?
– It would depend on the genre, but, in general, I wouldn’t consider a single microphone a great way to fully capture a performance’s many dynamics and subtleties. Two microphones (as in a true stereo mic setup) can very nicely do this, if selected and placed appropriatetly. At this point, I think you have much to learn, so I won’t go into further detail just yet.And does it give you professional sounding movies/ short films?Let me help you get a proper perspective on the gear that you use: your camera, microphone, editing software, etc. are all tools at your disposal with which you can modify/edit what you capture with them. Microphones have patterns, cameras have lenses and filters. It is up to YOU to MAKE them work for you. It takes time, experience, and failure to learn what to use when, and how to use it.
All that said, here is some reading for you. You’re past the breakers and getting into open water – get ready to tread water! Some of this stuff will be over your head until you are able to apply it in the field.
DPA Microphone University
Rane Pro Audio Reference
ProSoundWeb Study Hall (Sound Reinforcement/SR, but MANY things apply to on-location audio, especially if you are looking to record bands).
ProSoundWeb Forums (For more SR-related questions)Wolf
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If you have achieved the desired results with the microphone you rented, why not purchase the same model?
I do rather enjoy a close-mic’d speaking voice with a nice shotgun microphone. 🙂
However, first you need to provide us with a budget. The Neumann U87 or something from the TLM series are both familiar V/O and studio mics. Others are:
Electrovoice RE20
Shure SM7 (or the newer SM7B)
Rode NT1-A
Sony C48 (Very warm, solid-state microphone)Ribbon microphones of any type would be a great pick. Royer, AEA, and Shure (who acquired Crowley & Tripp microphones) are all great models.
Wolf
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Okay, first a question or two:
What type of Apple computer are you using to record into?
This will let us know what types of Inputs are available (analog vs. digital, etc.). I know that my Macbook Pro had a Line Input, which would be exactly what you would want to use. You just need to go to Preferences–>Sound–>Input (Devices?) and select the Line Input as the source.
What type of recordings are you doing that require a wireless microphone? Usually, I microphone system like that is for installed applications, and not run-and-gun audio/video shoots.
Get us some more info and we can help you better.
Wolf
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