Jordan Wolf
Forum Replies Created
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It sounds like a synchronization problem between the mixer hardware and the computer. Try updating the drivers, etc. and make sure you plug in the mixer BEFORE powering on the computer.
If you aren’t hearing the click/pop during the recording process, it may be that the headphone output on the mixer is tapping the signal from a place in the chain that is earlier than the computer-based side of the equation.
Wolf
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“So if you get interference on both wireless and wired what is the best root for picking up audio?”
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If you get interference in your wired mics, you have shielding and/or grounding issues. Neutrik makes connectors that help keep out RFI (Radio Frequency Interference), but if your cables are not the weak link on your signal chain, that won’t do you much good.
Could you describe your setup – from input transducer (mic) to capture device (recorder, etc.)? Lay it out piece by piece for us. We need to know how everything is connected, the type of connection, and whether or not it’s balanced.
That should give us something to work with.
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As far as wireless goes, most manufacturers have programs available either on their websites or for download that you can use to coordinate your mic frequencies.Sennhesier Frequency Finder
Sennheiser Frequency Coordination SoftwareWolf
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I’ll be doing a whole lot of ADR for a student film we’re working on. It’ll be a number of weeks before I can start, though. I’ll let you know when there are some clips up.
Wolf
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Frankly, there might not be any way to get it to sound like you want it to. My first choice is to have the actors come in and record them again while you are present, listening*. I don’t know if this is an option for you or not. That would keep you from using your precious time in search of the sound you want and put it right there in front of you.
If that’s not an option, you might try using some filters, as you said before. A High Pass (aka Low Cut) Filter can be used to take out some of the low end (you wouldn’t have too much of that on-location due to wind and handling noise). A frequency or 80Hz-200Hz is normal and a slope of 6dB-12dB per octave isn’t out-of-the-ordinary, either. You might also want to add a little “air” or “sizzle” to the voiceover (usually a Peaking Filter with a broad Q or Bandwidth in the 6kHz-12kHz). I know those are subjective terms, but I think you’ll get the point when you hear it. You might also do a small cut (-3dB to -6dB) somewhere between 250Hz and 600Hz using a Peaking Filter with a narrow Q/Bandwidth.
Those three things should remove at least some of the “boxiness” of the audio without compromising too much on the quality of it.
* – When I do voiceovers for scenes needing ADR, I usually try and duplicate the microphone type and placement that was used on-location. Since it’s a more controlled environment, I am able to crank the gain if needed and get a really hot, strong signal without worrying about picking up too much wind noise. Basically, I listen to the on-location audio and try to duplicate how it sounds by moving the mic(s) around until I achieve the desired sound.
Other than the above suggestions, you might try experimenting with your editor’s EQ functions – there might be a “Match EQ” or similar in there somewhere. Soundtrack Pro’s Match EQ function comes to mind. I haven’t tried it yet, but I’m going to get a LOT of experience once the shooting is done for the film I am currently working on.
Best of luck and I hope I’ve helped a little.
Wolf
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Adding some reverb will help it sound more open; whether or not it sounds like the on-location audio depends on how much time you have/are willing to spend working on it. Also, if you have room tone/noise that you captured, that helps A LOT. Ambient noise is fantastic at letting thigns et nicely in a mix.
Take a look at this short film; I was the audio person for it (on-location, post-production, etc.). I screwed up the audio by not checking my settings, so we had to ADR one scene. See if you can find it.
(Anyone else can play, too) I’ll take any and all constructive criticisms! 🙂
Wolf
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Okay, first off, let me just say that it sounds like these people are setting you up to fail. Whether or not they eve know it, they are.
I would place the A/T 4050 (in cardioid mode) as close to the performer as is comfortable for them (probably about a foot away or so). Hopefully they can work the mic as needed.
I, personally, would use the Senneheiser on the piano since the stereo pattern will keep the sound of the piano open and natural and will leave space for the performer. BUT, seeing as how you only have a few mic choices, I would use the Sennheiser as the room mic.
Plop the two Sankens on the piano with a small triangle of gaff tape and maybe some foam for shock absorption. Try and get one over the high strings and one over the low strings. Depending on how the piano lid is placed will determine your method of attaching them.
Pan the low piano mic to the left a bit, pan the high piano mic to the right a bit, and that will make space for the performer. Add the performer in, dial in some room mic to open the sound a bit and viola!
Experiment with positioning if you can – always listening while moving ONE MIC AT A TIME, and I’m sure you’ll get a nice recording.
Wolf
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You might also want to buy a couple of isolation transformers that have a 1:1 turn ratio. ProCo has some that are great for balancing long runs of cable (plus they have Pin-1 Lifts for those times when there’s hum).
Wolf
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I assume we’re talking about an overhead projector? Do a search for “acetate rolls” or similar. That should get you on your way. There might be a certain type for actual printing, but I know I’ve used them at my university for such things.
Actually, here you go…https://www.misterinkjet.com/inkjet_transparency.htm
Wolf
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To add on to what Ty said, also realize that you cannot open Pro Tools without the interface connected.
Wolf
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A Rode NT1-A would be a great first mic. They are very sensitive and pick up everything around them (within their polar pattern, anyway).
A pop guard is a great little gem to have around; you’ll find plenty of use. Make sure to get one that has wire coated in plastic/rubber and not a kind of jointed, metal shaft – I have found they don’t stay in place well.
Also, I don’t think that an MP3 is the format you should be using to get your work to your clients and/or agents. You want them to hear your voice and how good it sounds – that’s why they need to use it, right?
Use a high-quality format such as .WAV or .AIFF to ensure that.
Best of luck; I’ll add on some more stuff later, but I need sleep…it’s been two days and it’s starting to take its toll.
Wolf
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