Jordan Wolf
Forum Replies Created
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In regards to my initial post, I’m going to go with Ty on this one (he knows of what he speaks).
There is one solution which might be of interest to you: SM Pro Audio’s “Mic Thing”
If you are making money off of your V/Os, then I think this might be a worthwhile investment – plus, you could even take it when you travel and use it on the road. It might be a little pricey for you, but if it performs as expected, I think it might be just what you have in mind.
You’ll still need to find a quiet room, away from external sources of noise (AC Hum, HVAC, noisy children, etc.).
Wolf
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You would still hear external and internal noises regardless of the type of foam used, as there is little or no isolation from the environment happening. That is the problem with the box idea. Also, the short, parallel surfaces of the box might account for the “change of voice” you mention (phasing issues).
Wolf
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You can make yourself a makeshift “isolation” box. All you need to find is a medium-sized box (14″x20″ or similar) and line it with some pieces of Auralex (then somewhat pricey part). You can then cut a small hole in one of the bottom corners of the box and run a mic cable inside. Put a desktop mic stand in there (maybe before you put in the acoustic foam), attach the cable, and V/O away.
That should at least make deaden some of the [high/mid frequency] reflections caused by your speaking into the mic. The box should be big enough so you can stick the mic in a good amount and still have room for your ears to be at the edge of the box.
It shouldn’t cost much and, hey, if it improves your V/Os, I’m sure it will be a worthwhile little project.
Wolf
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EXPERIMENT, EXPERIMENT, EXPERIMENT!!!!
Never stop, always take the opportunity to…
🙂
Wolf
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Usually, it would be the recording console’s control room outputs (or a number of others, I’m sure).
As long as the signal is balanced, it doesn’t matter if XLR’s or TRS connectors are used. It depends on the particular “level” delivered by an output and expected by an input. The 3 types I come into contact with are Line Level @ +4dBu, which usually has TRS connectors, Instrument Level @ -10dBV, which usually uses RCA’s, and Mic Level @ -50ish dBu, which uses XLR’s. I think it is safe to assume that most standalone power amplifiers and/or active speakers are expecting to see Line Level (unless, of course, otherwise specified).
Coming from the world of live audio, most of the Line Level I/O that I see involves TRS connectors – mainly due to the fact that they are cheaper and take up less precious space than XLR connectors. Some high-end consoles (Cadac, for one) use XLR’s for everything – even their balanced inserts. XLR’s are favored for a few reasons. They’re a locking connector, they tend to be more robust over time (not as easy to snap off if hit hard from the side), and they aren’t made in a way that innately shorts the circuit every time they are plugged in or taken out.
Wolf
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These links might deal a little more with theatrical/stage rigging for mics, but some of the tips could be handy.
Useful Links for Wireless Microphones
Bright & Loud: Techniques for Microphone Placement
ControlBooth: Wireless Mic RiggingThe other advice provided has been very beneficial to me – I could use more info, as well.
Wolf
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You might have solved your issue already, but maybe I can offer some other advice.
Sennheiser has 2 great helps for wireless mic users: the Frequency Finder and the SIFM coordination program.
The Frequency Finder helps you located which frequencies are not in use by local TV stations (they get first priority to the airwaves, according to the FCC). For instance, out here in Huntington, IN, only 632-638MHz is open. And, even then, that doesn’t account for non-TV interference from other mics, etc.
Sennheiser also has a software program (Windows, only, sorry) which can help coordinate the frequencies among your mics (we have 7-8 for our news/film department). It’s very handy and isn’t that had to learn/understand, so long as you can grasp some basic concepts of wireless technology.
Wolf
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I am not a fan of lifting Pin 1, but will agree that sometimes it’s the easier temporary solution. If you think about it, you’re not treating the problem itself, though. You are only treating a symptom of it and the actual problem still remains. It’s not always easy or possible to solve the actual problem, though, so sometimes the temporary solution becomes the permanent fix.
Whenever we go on film shoots, I carry 2 ProCo ISO boxes in our kit. I always take a good listen back at the camera to what the signal sounds like when I move the mic, cabling, etc. around. I use the Pin 1 lift on the ISO boxes when needed.
P.S. – I think it is a good idea to talk about “ground lifting”, at least in regards to audio, as Pin 1 Lifting; whenever I think of a ground lift, I think of 2-prong AC adapters used incorrectly and ‘death caps’ (live sound guy, here).
Wolf
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Ty is right – use that Neumann! All joking aside, if you are daring, you might fiddle around with some EQ to get the wind noise, hiss, etc. out of the recording – it might just clean it up and help it sound more like you want it to. Remember, you want it to sound like it does to human ears, not the microphone.
Oh, and if you mess up the audio, just remember you can always undo it. Of course, and extra copy of the original file can never hurt, either…
Happy experimenting!
Wolf
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First off, what monitors do you have in mind? I always enjoy seeing what others are looking at.
You might want to look into some of the smaller M-Audio interfaces. You won’t really find one that only does outputs, and besides, it’s always good to have some inputs handy – I’m sure you’ll find a use for them.
Try to go for one that has balanced TRS (most common) outputs for L&R. Some units have multiple outputs, too, for routing separate mixes elsewhere.
Also, you don’t NEED an interface, but it is highly recommended you use one. In reality, you could buy or make up your own 1/8″-dual XLR(M) cable.
TIP goes to Pin 2 of left XLR
RING goes to Pin 2 of right XLR
Pins 1 & 3 both get connected to the SleeveRealize, however, that you’ll either need powered speakers or a power amplifier matched to the speakers AND that this connection method is unbalanced and should only be run a short distance.
Terms:
unbalanced
1/8″-Dual XLR(M)Wolf
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