[Peter Groom]

AMS Audiofile is probably the best editor available, but has been out marketed by Pro Tools, Nuendo, Pyramix.

Peter

[Peter Groom]

Thought id reply to this largely as we share the same surname! which is a rare thing.
I think its not really feasible to make a “good” recording of a band using acoustic pick ups front of house. And clearly your set up doesnt allow all instruments to be mixed properly for record rather than PA.
I think Id take an aux feed from the mixer where available, and place a mic outfront to get the ambient, but try not to let too much aire between mic and source as this venue acoustic will only muddy up the sound.
No winner really

Cheers

Peter

[Peter Groom]

Digital (AES) doesnt require pins 2 and 3 (hot and cold) to be present to provide stereo (ie 1 for left and 1 right). The stereo infromation is intrinsically encoded into the datastream.
Although Im not 100% on the wiring to go bnc to aes or vice versa, 2 mins with a soldering iron will tell you if my suspicion is corect.

BNC pin – XLR(hot or pin 2)
BNC screen – XLR 1 (or screen)

If that doesnt work Im surprised. Try linking 2 and 3 in XLR but I rekon not.
Let us know

Peter

[Peter Groom]

By average I was referring to a meter type. A VU measures an average value. As it sets off on its way to read a loud peak, it is halted en route by the next audio which may be a quieter one, hence it never actually reads a peak which is what we need to see. A PPM always shows the highest peak and it is weighted for a slow decay so it falls back slower so we always get to see the peak and respond to it.

I wasnt suggesting that Premiere is such a donkey as to actually adjust the mean audio values, merely that internal metering is in my experience not designed for this use. They are usually calibrated to “O” where all the 0’s and 1’s become 1’s in a digital datastream and onset clipping occurs.

Different meters for different jobs.

Peter

[Peter Groom]

Im not familiar with Premiere, but will almost guarantee theyre not meant for balancing and mixing.
You need Peak Programme Meters (PPM’s) that actually show the max peaks and not some average value. PPMs attack very fast and decay very slow so you seee the max level. This then has a relationship to the tone you supply at the head of the programme over the bars for picture calibration.
In the UK the standard is PPM 4 = -18dbfs at 1k tone, and the audio peaks (maxes) at =8db above this on PPM 6. Other countries have different values, but that isnt importans. What IS important is that the relationship between the max amplitude of peaks and the delivery tone ref level is known and the relationship understood by everyone, or it is specifically stated.

There are many quite good and cheap software PPMs available, the best in my opinion called PPmulator by raw materials. However be aware that many non linear systems dont allow it to be inserted easily in the mixer output postition. This is why most operators have much more costly external PPMs costing hundreds or thousands of

[Peter Groom]

How come no one has mentioned meters yet?

If you havent got PPM meters across the mixer, then how on earth can you expect to have either ANY idea of what the levels are doing or have any consistency across multi rooms?

Systems have to be calibrated with reference level tone to a known meter value, which then relates to the peak levels of a final mix.

What meters do you have?
Peter

[Peter Groom]

TV reporter earpieces are freely available. They terminate in a 3.5mm jack. clear in ear fitting with clear plastic tube.
Canford.co.uk sell them in the uK or any decent audio supplies place near you.
Peter

[Peter Groom]

Some things in life arent free. Cars, houses, women, and sound effects. Generally speaking a good sfx resource will charge and rightly so, because theyve good sounds, that are well organised, and recorded by professionals who all get paid for their efforts.
http://www.sound-effects-library.com is a good place, but paid for. And ofcourse you can spend many hundreds or thousands of

[Peter Groom]

Are you monitoring end of chain (ie the actual recording)
If you are, and the artifacts arent there (presuming you monitor loud enough, and the cans are enclosed enough to hear correctly what is going on, then maybe (but unlikely in a digital world) its being added at the capture statge, so how are you doing that – sdi embedded, analogue, firewire??

peter

[Peter Groom]

I agree.
Reference levels are merely a relationship between the tones and the audio that follows it. It actually doesnt matter what the tone level is if you understand the relationship between the tone and audio and log its value so anyone receiving it can calibrate, however most follow tone at -18dbfs (ppm4) (pal) being -8db below peak. You need a PPM to measure this.

pETER