[Peter Groom]

HI
Unfortunately there really isnt much you can do.
Id
1) Boost the levels to get it up to a sensible level regardless of how bad it sounds at that point.
2) play with extracting some frequencies that might reduce the apprent roominess. Try lo mid. Itll be a trade off between it sounding a bit thin, or roomy.
3) Try adding some music. This might absorb some of the room sound if you keep it a sensible level.
4) Isotope rx ight be able to remove some of the constant hash youll have at higher volume, but be careful as it can start to sound watery if you overdo it

The rest im afraid youll need to chalk down to experience.

Peter

[Peter Groom]

Theres a whole load of info to go on there, all with associated costs. My only advice (so as not to irritatingly repeat what everyone else has said) is for heavens sake, what ever way you decide to go – beachtek, radios, splitter cables (not advisable) etc etc
1) Test and test again
2) Dont plug into any mains. With unbalabnced cables likely around you will get hum.
3) Work out your levels and ceilings carefully
4) Wear, and listen to everything through headphones so you hear problems the instant they arise.
5) Check back recordings at that time. Dont get caught in the “it sounded ok at the time” trap we read about here every week.

But Im afraid my advice has to be, having looked at the camera online, that its audio capability is likely to be low, if its interface is anything to go by. I bet AGC’s cant be disabled and are horrid, and the 3.5mm jack makes me shudder. Its a toy!
I suggest hiring / shooting on a more pro end camera and hiring an audio pro to get the sound right for you.
It all depends on how important your project is really!
Peter.

[Peter Groom]

HI
Id suggest that if reducing by 6db is really going to send some of your programmes quieter passages into inaudible, then I doubt the mix is suitable for TV use anyway. It sounds like a theatrical mix with big dynamic range. TV has much less dynamic between the loudest and quietest parts. This is for many reasons but mainly (IMHO) due to the listening environment and home equipment, which is by definition much less than that of a theatre with its high spls and very lo freq handling abilities.

Id suggest a remix is on the cards.
Peter

[Peter Groom]

OK
1st – You must use a tc enabled machine. NOT ABS TC. This means a higher value machine like a Sony PCM 7030 or 7040.
2 – Control the DAT deck by using a 9 pin control wire (RS232 protocol), exactly the same as if you were capturing from a Digi Beta or HD CAM SR etc etc. It will show up in the VTR preferences so you can set and select the VTR characteristics .
3) Capture the audio exactly as if it were a Video deck, just plug up the AES/EBU / or analogue outs to the capture machine and away you go.

The audio recordings will be recorded against the original DAT tc as if it were footage on a VTR.

Hope this helps

Peter

[Peter Groom]

HI
Im curious why you need aes / ebu. My recollection (not current) is that aes IO can just be converted down to phono into an spdif digital card. The advantage being cost, but disadvantage is that you lost the metadata content of the aes signal, but do you need this (or ing it?) Spdif cards will be much more available and much cheaper.
Cheers
Peter

[Peter Groom]

id go for his pick up and a rifle as close as you can get. mix the 2 for clarity and a little air.
peter

[Peter Groom]

Is the noise you refer to, a mild clicking in the track or a cracing. if its more of a cracing sound, is it possible that its way too hot (high level) and the noises are where youre over modding the sound card / speakers?
just an idea

Peter

Nb I can spell the word cracing, but the use of the correctly spelled word trips the profanity conrtol filter and stops the mail.

[Peter Groom]

Is the cracking you refer to, a mild clicking in the track or a cracking. if its more of a cracking sound, is it possible that its way too hot (high level) and the cracks are where youre over modding the sound card / speakers?
just an idea

Peter

[Peter Groom]

I know this isnt helpful, but the sound you will get will be truly awful no matter what mic you use. if the venue wont give you a feed off thier mixer, personally Id walk away from it – theyre a bunch of amateurs.
Find something more worthwhile to do with your time rather than persue something that is destined to fail.
Try getting your client to discuss the severe limitations that are being imposed on your product by the lack of access. If no go, id sack the in house team off the job and put in a complete rig of my own.
Peter

[Peter Groom]

What Ty says about end of chain monitoring is absolutely right and very important. That aside commenting on the audio problem you have.

To me it doesnt sound so much liek a TX / RX dropout as the audio being ducked rather severely, perhaps as a result of the audio hitting a limiter / electronics ceiling. This could be anywhere in the chain but Id do some est recordings with that mic. Try to make the problem replicate by over modding its input. The G2 might have a sensitivity issue on the mic input. I know ther have attenuation pads in there for this reason. try biting hard into a word, get the problem audible, then back off on the sensitivity and replicate the word at the same volume. Does it re occur.
Failing that, ids there any agc on the camera being used. Cameras usually dip not duck out the audio, but whop knows.
if it is a Tx RX issue with the g2 try a different frequency. I know sometimes they can be interfered with by,a second channel or some other kit in the environemt youre not even aware of.

Let us know

peter