[Peter Groom]

Thanks guys.
Ty
Id already factored in money for an inductive loop. Seems ovbious bearing in mind the ages of the audience. Mic wise, the one you suggested would need to be mounted on a lectern or something. They dont have that, and I think a quality handheld will be better given its undefined use, but mostly speaking.

Jordan
Ive no intention of installing myself. Im a studio dubbing mixer and this is outside my remit. That said i can help them out a bit and make some suggestions, but ultimately a install company would be doing it.
Myidea is to increase the number of speakers spread throughout the room, but have them all directed away from the stage area. Buy having lots of units, the spl from any 1 can be a lot less reducing feedback issues. Theyll all be in front of the mic, never behind.

And lastly, yes you can pop in even the best mic, but a bit of training in its use will go a long way.

Cheers
Peter

Peter

[Peter Groom]

Hi Ty.
Its interesting that you work unsupervised and upload files. That just isnt the way here (or at least on the sort of projects i get nvolved with).
Directors / producers want to come to the studio and direct every quater syllable in a magnitude of styles, all live. They want to do it to picture 99% of the time, ideally with the VO having slaved pictures their end too.
I just dont see the non live session idea working here.

I think another UK/US thing is that we seem to be way behind on out internet speeds here than the US. So ISDN (say 4 lines at 64kbps) gives a great , guaranteed, non variable bandwidth. IP solutions here are shared, so in the course of a 2 hour session the amount of users coming and going off the IP cell will vary dramatically and therefore so might the audio, which cant be allowed to happen.

Cheers
Peter

Peter

[Peter Groom]

An interesting thread. I think there seems to be a US divide here.
In the US I think quite a lot of studios have adopted source connect. It is very good and Id love to switch to it, but here in the UK, few studios are currently using it and NONE of the voice overs that Im aware of have it. (I know there must be one, but Im not aware). So were still heavily using ISDN. Most days have 5 or 6 sessions where it is used, and in the run upo to Xmas that was doubles easily.
I guess it really does depend on your work type too. Commercials rely on it very heavily in the UK.

Cheers
Peter

Peter

[Peter Groom]

Hi
1) Was the zoom definitely rolling (ie just pressing record doesnt start the recording?)

2) When you stopped it did you hear it back before powering off?

3) Did the batteries or storage space run out before you got to it to turn it off?

Seems possible to me (presuming you ever actually made the recording) that the toc or table of contents has become corrupt. A data recovery specialist may be able to help,but its costly AND has no guarantees.

DO NOT under any circumstances make any recordings to that card if you’re going to try to data recover it. That WILL remove the hope.

BUT if you get another card, does that make and replay a recording successfully.

Dont get your hopes up on this one. Sorry but its probably gone.
Hope you have a plan B. When Ive done weddings in the past, I ALWAYS have a mic on a wire nearby the ceremony. Wires dont let you down like radios/ recorders / un manned kit.

Peter

Peter

[Peter Groom]

Ive not been on a flight, train, or in any workplace or even a pub or nightclub where smoking is permitted for some years now here in the UK. Is outlawed in any indoor public space or workplace. Of course a car is personal space to the rules about cars (and their 12v adapters, where this all started) have not changed.
I Dont smoke personally thank heavens.
Cheers

Peter

Peter

[Peter Groom]

An interesting observation Ty. yes they still call them cigarette lighters here, but as has been rightly observed, smoking is a dying habit. I think most people use them now for sat navs, phone power, dvd players for the kids etc etc. – an Zoom powering!
Peter

Peter

[Peter Groom]

Wearing my Dubbing mixer hat, Ive received interviews / audio recorded by BOTH mics and have been perfectly happy with either. They are both well respected manufacturers, but like everything in life, people have their preferences, so Id agree with the demo suggestion if possible.

peter

Peter

[Peter Groom]

Hi Eric
Do you actually have a c24 with a Pro Tools set up.
I wouldnt mind asking you a couple of questions.
Where in the world are you?
Peter

Peter

[Peter Groom]

Im not convinced its even possible 9let alone desirable).
FCP like all NLEs (avid etc) only allows manipulation +oe – 1 frame. You have to tell it if the fade starts at the transition, ends there or crosses it. Whatever way, telling it to do a 1 f tx means saying here we are on frame 4- by frame 5 have transitioned. Thats a CUT!
I think it will have a minimum of 2 to satisfy the criteria for a cross fade.
I remember my AMS Audiofile used to put a really small (a few ms) on every cut to stop clicks.

Peter

Peter

[Peter Groom]

Absolutely John.
I think the key if to create a manageable sized loop to record, and that depends on the talent behind the mic. You can always create another cue if youve split it down into a smaller piece. repeatability is my key word
Peter

Peter