[Peter Groom]

HI
Its ok. Only spent 2 minutes on it.
Cheers
Peter

Post Production Dubbing Mixer

[Peter Groom]

HI
Are you sure its phantom powered of 1 x AA battery. Phantom is 48v.

I can only speak for the zoom h4n as thats the only one of those 2 that ive used. The zooms XLR inputs are for the mics. I dont know, and dont think you can put mic signals into the trs jack sockets (tho Im willing to be proven wrong.
Look at your mic. if its XLR then Id keep it xlr.
Bal and unbal isnt soo much a quality thing as the devices ability to remove unwanted intereference/ mains hum etc.
If you do decide to go in on a jack on the other device
1) Find out how many poles the jack socket is and make sure you match the jack. If its unbal socket then you need 2 pole jack, balanced is 3 pole.
2) If you do unbalance the cable, keep the unbal cable as short as posible to minimise the exposure to interference.

Peter

Peter

Post Production Dubbing Mixer

[Peter Groom]

Any good
Peter

Post Production Dubbing Mixer

[Peter Groom]

if you listen to a person speaking via the mic with it pointing vertically up, and then point it down, if its omnidirectional you wont have a difference in the sound (apart from not being prone to pops and plosives when pointing upwards.
Peter

Post Production Dubbing Mixer

[Peter Groom]

Id rekon not. Even if the devices would allow functioning on UK frequencies (currently Channel 38, recently moved from channel 69) you still need a license from UK regulatory body (JFMG) to turn them on. There are 4 useable unregulated frequencies on ch 70 but these are very congested, and very close to the 4 G mobile broadband networks (newly sited on ch69 next door) so theres a real risk territory.

I dont know about other countries, but Im sure that most will have regulatory bodies controlling this type of thing, so finding a universally accepted device will be difficult, not so much from a frequencies point of view and many will work across a very wide range, but from the legality point of view.

My advice would be
1) buy kit licensed for use in your territiory.
2) Hire local kit abroad when you need it, which will be specced to work on that countries frequenciies and come ready licensed if from a reputable hire outfit.

Peter

Post Production Dubbing Mixer

[Peter Groom]

I expect that would be fine, although I dont know the mic, nut if you can def get close enough and have someone point it correctly.
Make sure its well wind protected. I dont know what Rode make for this , but personally I always use a 416 in a sennheiser basket with a full on fluffy where these outdoor wind movement.

BUT the number 1 thing is use headphones that actually allow you to hear what youre getting, then if you need to move to sheild the mic from wind, you know it straight away.

Id rekon that a lav mic would be very succeptable to wind noise unless in a proper wind fluffy.

Peter

Post Production Dubbing Mixer

[Peter Groom]

cleaned audio file here.
5596_kitchen.l.aif.zip

Post Production Dubbing Mixer

[Peter Groom]

HI Jeremy
where should i put my audio for you?
If you post an email address i can email or send you an ftp link.

I increased the gain significantly (as did TY) but then cleaned up the rather noticable background tone that had been dragged up with the gain a lot.
Peter

Post Production Dubbing Mixer

[Peter Groom]

HI Jeremy
where should i put my audio for you?
If you post an email address i can email or send you an ftp link.

I increased the gain significantly (as did TY) but then cleaned up the rather noticable background tone that had been dragged up with the gain a lot.
Peter

Post Production Dubbing Mixer

[Peter Groom]

Ill have a look at it when im back in the studio and see how much background is dragged up to lift it out of the floor, and then what cleaning up can be done with it as a result.
Im not in studio tomorrow as Im out on location, but Tuesday will have a listen
Peter

Post Production Dubbing Mixer