[Peter Groom]

Hiding mics and getting good usable sound is one of the hardest things to do, and recordists all have their own little tricks that they closely guard. In general, ive always had best success using COA 11 mics. The manufacturer makes a rubber flat mic mount that completely encases the mic except for about 3mm at the top. This is the best to hide i find.

Rycote.com make a range of Undercovers, over covers and stickies that are pretty good, but you will find that there are 2 types of noise when a performer moves.
1) Actual rubbing on the mic. This can be lessened or eliminated by the products above.
2) Clothing scrape. This is audio inside the clothing and is as much audio as the dialogue is. All you can do is stick down moving garments, or relocate the mic, or wear different fabrics.
Also you should go to great trouble to deal with the cable correctly with a double loop (held loosely) about 2 inches below the capsule. Stick this down firmly, so any cable pulling doesnt move the mic capsule.

Then of course theres ADR.

Peter

Peter

[Peter Groom]

Hi Ty
I think the biggest downside to your suggestion of playing it over a speaker will be that it is unlikely you can use a room anywhere near big enough to replicate the acoustic of a Bar sized room.
Wotrh a try tho in principle although theres no flexibility in the treatment amounts of the variables like eq and verb.

Peter

Peter

[Peter Groom]

Hu Ty
Ill try to find out more tech spec on his guitar.

In general do you find that guitar pick up outputs are
balanced jack, unbalanced jack or FXLR?
Peter

Peter

[Peter Groom]

What version of pro tools are you running?

I noticed for the first time last month that omf had been removed and replaced with aaf only.
It was a new AVID software (dont know number)

Peter

Peter

[Peter Groom]

Youll find that dubbing mixers are very aware of how different environments sound. They pay attention to the detail of how a juke box sounds, so they can re create it.
obviously different places sound different, but as a starter Id

1) Mono the audio. You dont want a cd style stereo image
2) Whack up the bass (to give it tha big acoustic thumpy thumpy sound
3) decrease the top end. Youd not get much clarity in a bar
4) Add some large hall reverb, with its decay set quite short. Also drop off the HF on the reverb
5 You might need to push up the mids a little to get some edginess back in there
6 Add in BG Bar effects, and add muffle (HF off) and add verb to taste.

That should get you pretty close, and then tinker from there.
Enjoy

Peter

Peter

[Peter Groom]

Hi
Personally I rate izotope pretty highly. That said its not something that just magics away sound. It takes some time and effort to learn how to manipulate the audio and the software.
id say you should look at it.

There is a demo version and it works as a stand alone app or as a plug in to daws like pro tools. The thing with the demo is that you cant save the audio using the stand alone. So youd either need to assess if it can help and then buy it, or find another way of recording the output audio in real time!!!!

I take onboard what youve explained about the project and your involvement. I guess Im just not used to that way of working.

Enjoy the experience

Peter

Peter

[Peter Groom]

Ive got to be a negative here.

If you don’t want it to sound like its in a noisy place, dont shoot it in a noisy place. Pros would create the fair for the shoot and therefore all extraneous noise would be added in the mix.

The sound recordist should be flagging up unacceptable levels of bg noise on location, and the director needs to listen to him.
Noise reduction applications like izotope, look at nalysing a constant factor such as buzz or hum, and can remove that pretty well. But fairground isn’t flat, its highly textured and isn’t noise, its a feature that you chose when shooting there.
You can do obvious things like lo roll off filters to remove a general lf noise, but there are real limits before you cripple the audio you want to retain, and if the dialogue is too submerged in the bg atmos, then there is only ADR left.

ADR is the re recording of all dialogue in a controlled studio, adjusting and slipping to fit the lipsync, and then you re add the fairground to a better spec. Its very specialised, time consuming, and the performers need to be good at it too. An acquired skill for everyone.

Sorry but its the truth!
These are the lessons “freinds” learn.

Peter

Peter

[Peter Groom]

Ive got to be a negative here.

If you don’t want it to sound like its in a noisy place, dont shoot it in a noisy place. Pros would create the fair for the shoot and therefore all extraneous noise would be added in the mix.

The sound recordist should be flagging up unacceptable levels of bg noise on location, and the director needs to listen to him.
Noise reduction applications like izotope, look at analysing a constant factor such as buzz or hum, and can remove that pretty well. But fairground isn’t flat, its highly textured and isn’t noise, its a feature that you chose when shooting there.
You can do obvious things like lo roll off filters to remove a general lf noise, but there are real limits before you cripple the audio you want to retain, and if the dialogue is too submerged in the bg atmos, then there is only ADR left.

ADR is the re recording of all dialogue in a controlled studio, adjusting and slipping to fit the lipsync, and then you re add the fairground to a better spec. Its very specialised, time consuming, and the performers need to be good at it too. An acquired skill for everyone.

Sorry but its the truth!
These are the lessons “freinds” learn.

Peter

Peter

[Peter Groom]

Im aware i didnt help by making any suggestion.

Take it to a studio until you are better than they are.
And also what are you doing in terms of acoustics and recording space?
Peter

Peter

[Peter Groom]

I agree with Jordan.

I think Pro tools is way to big an app for someone who isnt fully conversant with it. The session could become really stressful and you should spend time with it without any customer or job learning its inner core before tackling even the most basic job.
Then i think the question youre asking just evaporates.

Know your limitations and spend your career moving those limitations away.
Sorry to be a little negative but i think youre on a loser. Presumably your client is coming in because he believes you know this stuff.
Peter

Peter