[Peter Groom]

Ok
I’d say the neg value on the receiver op won’t be doing anything to help the hiss as you’re just moving the recording closer to the zoom noise floor.
The input preamps on a zoom aren’t regarded as the greatest ever ( they are very cheap units) but decent results can be had by adjusting.
If you’ve no pads on the inputs don’t try to record too high. They will distort.
I have -15dbxlr pads on the inputs to help with thus but I run my tx at zero.
The radio banks need to be set I. Accordance with he local licensing arrangements.
I’m in the uk so we have to be in bank 1 but I can’t speak for you.
When you get to location do re scan the radios and check for any local interference .
Peter

Post Production Dubbing Mixer

[Peter Groom]

yes thats what i was suggesting but it relies on you having discreets.
If you onl=y have an encoded ac3 (which is what it needs to end up as) then youre sunk.
Peter

Post Production Dubbing Mixer

[Peter Groom]

I have a few sets of sennheiser g3 personally and always use this as my starting point

Transmitter mic set to -21
receiver outpou set to 0.

That will give you a sensible mic level output with nothing being driven too close to its maxes.
Then look at the zoom. Turn off phantom. Turn off linking. set input 1 and 2 levels independently.
Also find out what type of mics are fited to your units. If they are OMNI then Id recommend mounting inverted! That way you dont get nasal air blasting down the capsule, or plosives from the mouth if the speaker looks down at a device etc while talking, but the audio will remain un changed.
Peter

Post Production Dubbing Mixer

[Peter Groom]

I find that the input stage electronics often maxx out and the level appears to go no higer no matter what you do.
i bought some 15db pads to pull the inputs of the input limts and have much happier times since then.
Peter

Post Production Dubbing Mixer

[Peter Groom]

put the 2 radio mics xlrs into the zoom, and TEST the recording. Adjust the record levels, re test and `LISTEN back to the recordings.
Use Headphones THROUGHOUT. Dont take them off.
Get the sound RIGHT at the shoot by investing time and effort in it. It will let you down if you take your eyes off it for a moment.
Dont leave set without good, checked recordings and re takes on all problem parts that you identified during recording.

IF you want an ambient recording too, put the zoom into 4 track mode and place out of shot and make recordings of the onboard mics also.

Peter
Oh and did I mention WEAR the Headphones!!! – Bin the camera before you bin the cans. Clear?
Peter

Post Production Dubbing Mixer

[Peter Groom]

what files do you have of the surround mix.
If you have diecreet mixes (ie 6 x wav files, then yes you can drop the new audio into the file in a daw and export and as long as you get levels right and keep the file exactly as it was name. klength, sample rate, bit depth – not a proble,

If its a pro tools session youll need that and be able to config everything (which isnt going to happen)
If its a surround encoded ac3 file then youre sunk and will have to live with it or make a new ac3 file from the original studio.
Peter

Post Production Dubbing Mixer

[Peter Groom]

I’d add that this is nothing to do with fcp and indeed I’d not attempt and audio work in this Nile personally.

Post Production Dubbing Mixer

[Peter Groom]

Taking a dual mono signal and panning it centre gives a +3db lift.

Post Production Dubbing Mixer

[Peter Groom]

I think it’s just too small I’m afraid
Peter

Post Production Dubbing Mixer

[Peter Groom]

Did you use an unbalanced cable.
Sounds like rf getting in
You’ll not get rid if it I’m afraid . It’s not vonstant but fluctuations.
You should have heard it within 1 second and acted then.
Peter

Post Production Dubbing Mixer