[Peter Groom]

HI JC. Always good to hear what others are doing on subleties like dial norm settings etc.

Can I ask what is a DMU?
Peter

Post Production Dubbing Mixer

[Peter Groom]

Bob. Recording the 4 sep inputs at the same time works ok on mine?
peter

Post Production Dubbing Mixer

[Peter Groom]

HI again

Ofcourse where talking about VU meters.
Thought so

And yes, I was incorrect about what I wrote earlier about the clipping part.At least partly…(I think)

I dont use Premiere Pro and never have (prob never will) but as a rule on any audio if youre driving audio so it hits into the red portion of any meter, you run a real risk of clippimng and distortion. In the old analogue days, you could distort on tape, and the onset of the audible effects was gradual as tape saturated and then had no more headroom, but digital is less forgiving, good, good, good massive distortion and no inbetween.

The tracks are standard set to ‘0dB’and can be changed to max 6dB or lower dB values, while the master volume is standard set to ‘0 dB’ but here this is the maximum.
And that’s the VU meter I use to avoid clipping.

I had a quick google and yes, VERY surprisingly it does use a VU meter (at least in the CS3 video I watched) Totally unsuitable for digital systems in my opinion. As VU is only a mean value, short peaks or transients could easily clip the audio stream, and the meters would never attempt to show it if the following audio were low enough to drag the average down!

Peter

Post Production Dubbing Mixer

[Peter Groom]

In an effort not to recover ground already done, can we have clarity on this use of “UV” meters. I think you mean VU meters. This stands for volume units and shows an average or mean value, therefore is no good for measuring peaks. HOwever I thinmjk it is incorrect to say that all editing software uses this. Indeed Ive never seen it on any editing software.
The full scale DB meter where the top is at o is the normal meter supplied and shows where digital clipping will occur.

Peter

Post Production Dubbing Mixer

[Peter Groom]

Is someone holding the shock mount.

Cant you run a spear through the heart of anyone who touches it causing the noises? They need to leave the set.

Id whip open the xlr and check youve no stray threads. If youre getting a lot of cracks with barely a any movement, that suggests a fault to me, either in the mic (try an different one) PSU (is it phantom etc) or the cable (easiest to fix).

If youre recording it sep, make sure someone is listening to every word of the recording, and KNOWS that no crackle occurred over dialogue, and if it does, get it done again. Directors wont be pleased to be told there was a fault at the edit! And the Dubbing mixer will be livid!

Peter
Dubbingmixer

Post Production Dubbing Mixer

[Peter Groom]

OK, your 2 posts, 1 at a time.

There is a software update that you can download,. This allows sep control of recording levels. They are currently locked as a pair. But if youve not bought it yet, then best not update the software. Who ever owns it might not be best pleased.

Re FCP. Cards on the table. I hate FCP and wont use it, But there IS an unlink function in a menu which treats a stereo file as 2 mono files that just happen to live side by side.
In any case. If you cant sep them, and 1 is unwanted, just use the audio tool (apple6) i recall to drop the fader on the unwanted side and pan the good track centre. Same difference.

Peter
Dubbingmixer

Post Production Dubbing Mixer

[Peter Groom]

HI
So where is the reporter. Remote or with you at a computer.
Do you have a mixing desk.
Are you on a Mac or PC

Without knowing of a dedicated solution, I know that here at home I can record digitally the audio into either / both my pc and MAC machines of ANY audio source that either computer has available. I do this merely by having a suitably flexible soundcard installed (Blackmagic Decklink extreme on the mac) that allows internal routing of the audio, be it youtube, skype, itunes, online tv etc etc, into an audio application. On the PC and the mac Ive Pro Tools but its just a recorder. I set this soundcard AES EBU out (or spdif) source as an input within the application and away I go.
So if you want this audio into a video setup, Id just then route out of Pro tools to any other device I like on a cable.

So thats the far end taken care of, recorded locally and routed out to a camera, VTR etc.

If the reporter is local to you, then just stick the incoming audio through a mixer, so you can give him a monitor feed, and he can use the handset to talk to far end (in which case youd mic him up locally and feed this to the camera / VTR, or set up a new bus in Pro tools, mic through the desk, mixminus subgroup out to the PT, and then route the soundcard inputs internally from the PT, and the far end will get that mix.

Its a bit of a patch, but would work. It depends what kit youve got, and how familiar you are with audio routing in applications flexible enough to do it, like Nuendo, Pro Tools etc etc.

To do the phone patch, Id get one of these (if youre in the UK) Overseas youll need to get something locally for your system.
https://www.maplin.co.uk/bt-socket-recording-lead-30350
or a Telephone balance unit. Both will get the far end caller onto a desk, where you can route it to a camera / vtr and away you go. Mic reporter locally as in skype setup.

Peter
Dubbingmixer

Peter

Post Production Dubbing Mixer

[Peter Groom]

Yes, the zoom is merely a recorder not a receiver as well. Theyre good, but not THAT good.

Peter

[Peter Groom]

I think for ease all round, if hes on 44.1 (and he should be if its for cd) then Id set yourself to 44.1 also. Youll not hear any difference, and it will eliminate potential problems.

In theory you could run ltc on what ever you like, as its an analogue feed and merely defines the length of 1 second or 1 frame. But its simplest to run matched audio wise. If youre going to run digital audio feeds into your hd capture, then youll need to match sr to see a signal. SR conversions can take place but only as a post issue “i think” and not a live record.

It would seem to me that youll end up with multiple passes of the same LTC code. If its like any album ive engineered (and there have been a few) it wont be pass where many people play along together. Its singe elements over and over with drop in and outs, vocals overdubs, harmonies etc etc etc into the night.

Good luck

Peter

[Peter Groom]

To Be honest, I think the bigger problem regarding audio quality will be around plugging it into a canon xXL camcorder mix inputs. I dont thing the mixer is the defining component.
Peter