[Lee Grainge]

940MB for a 16HR file? What’s the quality like? I normally would get 1gb @ 48khz 24 BIT per hour.

Dependent on what your system specs are for your computer, you could…

…try a trial version of Peak at – bias.com Or try Audacity.

Both are basic editing systems. With both of these free of cost options you can easily scroll to each part.

If for some reason you cannot open the file at all, I’d suggest a conversion of the file itself before doing anything else. Find a piece of software that can convert WMF to QT.

You cannot record the whole thing at once. Set a start and finish point to the time-line that enables you to record into your DAW.

I imagine that the file might grow substantially?

[Lee Grainge]

P:S – If you’re not sure about all the cables just give a sound hire place a call. This way you can go through it all in one phone call. Try Richmond Film Services. They are very helpful!

Hope that helps!

[Lee Grainge]

I wouldn’t go for any TX/RX that are NOT diversity Radios. When I say Diversity there are two types, Diversity and NON diversity. The latter will give you drop outs at 10 feet + or even worse!!! I’d Say look at Audio LTD or Micron. Not that cheap but worth their weight. I think the SONY and Senheisser aren’t that great in terms of quality. both do not use XLR and, or Lemo adapters! They’ve got their own crappy mini jack inputs.

DPA can be fitted with Lemo pins (my pref.) – When buying a DPA 4060/4061 they come with a P48 converter. You can convert any point into whatever you need! Just stay away from cheap inputs like I mentioned before!!

If you cannot afford DPA then go for COS 11 – get all the extra bits you need, like rubbers clips etc. If you need to hide the MICS look at getting Surgical and Hair tape to stick properly to who ever it is.

If you want a wireless boom MIC get a P48 converter, strap a Transmitter to it and you’re off! This will enable you to have a boom MIC without cables. Beware of frequency drop outs though, ie’ inside – thick walls and alike.

It all depends on your budget. Any more questions? I’m on here today if you need to mail more.

Lee

[Lee Grainge]

Try this tutorial. It’s very straight forward!

https://alesis.com/support/notes/Signal_Processing/Compapp.html

[Lee Grainge]

COS 11 are great. You could also look at DPA 4060 /4061 – Both beautiful warm sound.

I’d certainly get rid of the ME-66 – they do not handle bass as well as say a MKH60 – which I would recommend over a 416 also.

Sound like an interesting job. Hope it all works out for you!

[Lee Grainge]

Hi there,

Pro tools does indeed do what you need to. Digitranslator will convert OMF to AAF – I cannot remember exactly but I think Logic also does. Well I have in the past imported an OMF into Logic Pro. The importer in Logic VERS 7.0 seemed to not be able to read all the order that Pro-Tools wrapped them. Basically some files were not in the T/C position they should be.

I originally bought Digitranslator 2 (do not buy with VERS 1) then soon realised that I needed the DV Tool Kit II which has this and many other options that you normally only find on the HD series of PT.

I don’t know about any other Apps.

Hope this helps.

[Lee Grainge]

For more furhter reading regarding ADR / Looping

“ADR stands for “Automated” or “Automatic” Dialog Replacement. ”

https://filmsound.org/terminology/adr.htm

Cheers.

[Lee Grainge]

It might be useful if you give some specs. into what tools you actually have now. Or will you have to go out and spend?
There are many NR’s out there (see waves.com restoration pack) – that can filter out certain artifacts.
If it really is bad then EQ will help but only slightly.
If you have another ‘take’ then some time – stretching/pulling could help. If you go down this road then try and cut the dialogue in Syllables IE; – wat – er is floo – ding – This way it will hopefully be easier to cut the dials correctly with minimum time changes.

If you go down the ADR road then make sure you use the same MIC.

Good luck!

[Lee Grainge]

I am assuming that you would put each mic on a separate recording track and pick the best in post.

We would have to run a lot of wire as they don’t want you very near the track.

If I’ve rambled below, I am sorry 🙂

There are many ways to approach what you want. I’ll keep it to a few of.

1:

Yes you would need a multi channel set up.

I don’t know your budget so I will try and explain a middle and a high road pricing.

HIGH:

DEVA 5.8 would be a good to choice. 10Channel mixer. Expensive to hire. http://www.zaxcom.com

– Or, the Sound Devices 744t 4Channel.
Not as expensive. http://www.sounddevices.com

There are other multi channel mixers like HHB’s 8Channel.

MID:

Two set ups.

2x MS Set up with an additional long, shot-gun MIC.
Sound Mixer like SQN series 5
Recorder – DAT – Flashcard? Do you want the recorder to out to Camera for sync also?

If you follow this option, your cable runs will be greatly reduced from, EST, 200/550M each side to at least half that (I am judging the distances) Distance is an important factor here. If you have more specifics on it, you can post and I’ll see if I can help.

Maybe someone local to you can advise? You’d need two sound mixers.

For the main purpose of “Great” sound recordings, that you could use to enhance your project or license time and time again, it might be worth investing in a Sound Mixer, one whom is very used to recording with a technical set-up for such challenges.

All dependent on time and budget of course.

LOW:

Just one sound person using a mixer like an SQN (or other that has MS & MSM set-ups) 5Channel to stereo recorder – You can still get a great recording on 3CHannels + 2 extra for say a long shot gun or just the parabolic!

2:

Is to get a Sound designer to enhance your recordings (if you go basic with just one Stereo Mono or the Parabolic MIC, that is) Post can do a lot for sound, and it’s narratives if the job is given to the right person.

Hire MICS that can handle the frequencies.
Hell! See if you can devise a way to have an on-board MIC with recorder strapped into it! 🙂

Hope this helps somewhat.

P:S
I would like to hear the results.

[Lee Grainge]

Hi, my first post on this forum.

My opinion would be to spread Multiple MIC set-ups over 200M each (budget permitting) X2set ups If you can go for a MS set up – as well as experimenting with the Parabolic. One could easily blend the two to make the “oomph” needed.

My 2