Jordan Wolf
Forum Replies Created
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Well, Carbon Copy Cloner is what I was saying “+1” to.
So, is this what you want?
Hard Drive 1 has files “ABC” and “XYZ” on it.
Hard Drive 2 only has “ABC” on it.
You want “XYZ to be on Hard Drive 2 as well but without deleting “ABC”.If you set Carbon Copy Cloner correctly and tell it to do an incremental backup of Hard Drive 1 to Hard Drive 2, it will only copy files onto Hard Drive 2 that are not already there.
Does that make sense?
If you are on Windows XP/Vista, there is a nifty little program called SyncToy that can downloaded for free and can be set up exactly the way you want.
Wolf
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+1 – I use it to back up my MBP’s internal hard drive. I have it set to start a fresh backup each month and incrementally backup every week inbetween. Don’t forget to try out your backups every-so-often…that way, you know they work.
Wolf
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I wanted to put more in my last post, but got mouse happy and clicked a little too soon.
Tips:
1. Keep the Buffer Size low.
2. Don’t use any plug-ins or inserts (digital) on tracks until you are ready for mixdown.
3. Try to route your monitor mix directly to the headphones and not through the software.Wolf
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For handhelds:
– On-location: Definitely dynamic
– Studio: Certainly condenserSchoeps element(s) would be very nice… 🙂
Wolf
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Well, I don’t use Logic Pro, but when I use ProTools for recording with a 003, I set the Buffer Size to 512 or lower. Then, when I being mixdown, etc., I crank it up to maximum (2048, I believe).
That negates most issues. I believe that 8ms is the time threshold that humans becomes aware of delay/artifacts. Anything under that shouldn’t be too noticeable.
Wolf
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Yes, thank you Ty…I missed that in my late night proofreading.
Sound does in fact travel at about 1 MILLIsecond per foot.
Happy miking!
Wolf
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Nice mics…a little bright, sometimes, but classics nonetheless.
Here are some stereo mic technique resources for you to try out.
I, personally, like X-Y and Mid-Side. I have yet to try ORTF, Decca Tree or anything using baffles.
And don’t feel tethered by stereo techniques just because you have two microphones. Use one C414 in Cardioid mode and place it a few inches (3″-5″) from the place between the neck and the soundhole. Place the other C414 a little ways away as a room mic and set it to Omnidirectional mode. Then, in your DAW (ProTools, Cubase, Digital Performer, etc.), align the waveforms to prevent comb filtering due to different time arrivals of the guitar at the microphones.
Hint: Speed of Sound = 1,130ft/sec…so for every foot of distance between the sound SOURCE and the room mic, delay (or move the waveform) 1 to 1.2 seconds so that the positive and negative phases of the waves line up. That should make the audio more full-sounding.
Good luck and happy experimenting!
Wolf
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Clipping can be sort of cleaned up, but it’s basically in the recording for good. All of the effects used in both ProTools and Soundtrack Pro are non-destructive since they both use non-linear editing (like Final Cut Pro) and only reference the original files.
The worst thing that can happen is you don’t like the result and discard that version. I’ve used both and they work alright…it’s best to fix it a the source and make sure it’s better next time.
Good luck and happy experimenting!
Wolf
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My only real concern would be about a microphone not outputting a strong enough signal for the iPhone input to use.
There was a similar thread on another of my favorite forums.
iPod Touch Recording/Playback Cable
If you are or know someone who is handy with a soldering iron, the wiring for the iPod Touch (similar to the iPhone, hopefully) can be found.
Good luck and please report that results.
Wolf
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I definitely agree with John that you should see if the sound company has a recording you can use to overdub in (or just use the entirety of, if they let you).
There is no way to get the same amount of direct sound that you do from a straight feed. The audio’s interaction with the room plays too large of a role, as do the people in the space. Plus the difference in level between the board feed and camera mic would mean the noise floor of the part that the camera captured would be very high.
Little audio lesson: every time you double the distance between yourself and a sound source, you lose around 4dB-6dB/SPL. It’s called the Inverse Square Law. Try it out sometime. Remember to DOUBLE the distance EACH time you move (2 feet, 4 feet, 8 feet, 16 feet, etc.).
Anyways, sorry to be another bearer of bad news, but that’s how it is. Good luck with the project and I hope that you can get some good audio from the company.
Wolf
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