Jordan Wolf
Forum Replies Created
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Mackies are certainly a standard, but I find their functionality to be lacking in what I as an audio mixer, etc. want.
I agree with the others that an audio interface is what you want…now, I would prefer one that has the most functionality for me. For a studio setup, I would look for a unit with a very low noise floor and a lot of clean gain. If you have a lot of clean gain, that means headroom galore, and hi-resolution metering won’t be “as important” (although it is very nice to have).
You might want to look into stuff by PreSonus, Focusrite, and MOTU. Pick the one that has the features you need now AND a little more for later. You want a good ROI, so demo and test out accordingly.
Wolf
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Adam,
Upon looking at images of your audio interface, I don’t see any balanced outputs. I see XLR inputs on the front and RCA outputs on the back. What do you mean when you say in your original post, “iMac FW out to Presonus Inspire to speakers via balanced XLR”?
Are you using an RCA-XLR cable? If so, it is not a balanced connection. However, as long as the cable run is under 15′, you should be okay using RCAs either way. This leads me to think the issue maye be elsewhere, since you already tried going RCA into the speakers directly.
Okay, first I’ll offer some advice(not to be snarky, just informative): when troubleshooting, it is important to try devices that are both similar and dissimilar to the DUT (Device Under Test). It is also important to only change one variable at a time.
So far, you have discovered that your computer (connected to the AC power from the wall) causes hum/buzz. You have also discovered that devices NOT connected to AC power exhibit a hum-/buz-free response.
If you haven’t already, run your audio interface via firewire and not using the AC adapter (if you are even using that). If this has already been done and the problem remains, try running an extension cord from another outlet and plugging your devices into that.
You ideally want all deviced that are going to be interconnected on the same circuit so that the voltage potential to ground between each device is kept low (that “potential” or voltage is what you hear as 60Hz and the odd-order harmonics thereof).
As another idea, if you have access to a bus-powered audio interface with balanced outputs, try that to see if it will help – my guess will be that it helps somewhat, but not entirely, if it’s a power issue.
Please keep us up-to-date on your findings.
Wolf
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Steve,
Make it a habit to scan for open frequencies EVERY TIME. That’s the only way you are (almost) guaranteed a stable signal. You’ll want to have every transmitter on set powered on when you do it…you never know when you’ll get asked for another wireless mic, etc.
Also, if your unit uses some form of deversity antenna pickup, keep the antennas somewhat perpendicular to each other to increase the likelihood or the unit picking up direct RF from the transmitter and little/no reflected RF.
You’d be surprised how much RF a waterbag, er…person can absorb/reflect. Oh, and be glad that most of you only deal with wireless microphones (albeit a large number sometimes, I’m sure) – when you throw wireless In-Ear Monitors into the mix, the bandwidth gets even more crowded!
Wolf
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You should use the Sennheiser Frequency Finder to see what frequencies are clear in your area. Also, if you call the various tv stations, etc., they should be able to give you the frequencies they broadcast on.
From the description, I don’t think that it was a cell phone or PDA, but I guess that’s another possibility to consider.
Make sure when you position the bodypack on the talent, the antenna is free-hanging.
Here is a great resource if you haven’t seen it yet (I think it would make a good Sticky). There are, thus far, three parts to it, with more on the way, I assume. It applies more for sound reinforcement, but the concepts are relevant for wireless systems anywhere.
Wolf
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The other way to go about it is to use a field mixer to provide the phantom power and take a feed off of that into the H4n.
Either way, I would try to use wall power whenever possible – batteries are certainly expendables, but in the field you want to have them when you need them.
Wolf
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I recommend using a clapboard for syncing your audio to the video. It’s simple and reliable. Look for the spike of the “clap” on the audio waveform and sync that with the closing of the board. You MAY have to compensate for distance if the microphone is physically located far away from the clapboard since it takes time for sound to travel (1,130ft. per second). If this will be the case, make sure you measure your distance from the clapboard to the microphone. Add 1.13 milliseconds of delay per foot of distance and you should be golden.
The Zoom H4n gets a lot of love on this forum and others I frequent. For what you are looking to do, I would stay far away from any recorder that lacks XLR inputs.
How much money do you have available to spend on this recorder? DO you have any microphones yet?
Wolf
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As for fixing the issue…there really isn’t anyting you can do other than grin and bear it. The laws of physics bend for no one; you’re stuck with the results unless the speaker’s position relative to the whiteboard surface changes.
I think an e6 or similar could work well, maybe even an e2 (the shorter version) would be the better choice since it is further from the front of the face.
Wolf
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You’re encoutnering the boundary effect – it’s the reason that Crown PCC160s and similar mics work so well at what they do.
Basically, you have interference caused by the reflection off the close surface getting back into the mic at a different time than the original sound. Just how much of a time difference will determine how much phasing you get. Once you pass a certain point, however, the destructive phasing will stop and the reflection will begin to reinforce the original sound.
If you get a chance, grab a mic, mixer, and some headphones and, while speaking, walk towards a wall. You should notice a whooshing effect (phasing). You can vary the “pitch” and speed by changing your distance to be more/less by moving to/from the surface faster/slower.
Fun stuff…now get out there and experiment! 🙂
Wolf
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The best way is to have an accurate monitoring system for yourself and demo everything in your own built-to-spec personal theatre…but if you don’t have one to do that in, then audition the films at local places – you’d be surprised how many people are willing to help out, you just have to ask.
Wolf
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