[Peter Groom]

Just googled it. Its a perfectly normal 3.5 mm locking jack. Nowt flash.
Just need to adhere to the xlr norm of 1 screen 2 hot 3 cold and go TRS on the jack where T is 2 R is 3 and S is 1. Should be 5 min job.
Peter

Peter

[Peter Groom]

Im not familiar with the gear concerned, but if it has a mic line switch on the tx then youre well on the way. Just get a female xlr, some suitable cable and whatever socket goes INTO the tx, and solder one together. easy
Peter

OR you can buy one ready made from someone else who did the work and pay about 4 times as much as the bits cost.

Peter

[Peter Groom]

Hi Tony
thats very nice of you to say. Its good to be able to help, as have received help form forums in the past.

Nb How do you find PT 8 vs 7.x . I havent upgraded from 7.4 to 8 yet. Largely as Id need a completely new Mac, and Im NOT keen at all on the darker visual interface. Combine that with the fact that my PT works perfectly with no glitches ever, and it paid for I struggle to find reasons for upping (until digidesign finally get round to implementing some real Post prod advances that they say theyve had as the top 3 on the wish list for 3 years now!!)

Peter

Peter

[Peter Groom]

Ok
If you need to do this as a bounce (ie youve eqd , compressed etc etc then its a bit of a git!) as youve realised.

If you have processed the files as a plug in then if you convert the processing to audiosuite then theyre processed on the timline, so you can just lasso (highlight in to out all the relevant cues) and go Shift & Apple & K. This will select all cues in selection and allow you to set export parameters such as mono, bit rate etc, and allow you to select output location. select ok and off it goes, doing them all in a 1.
be sure to keep a copy of all regions on the timeline before applying an audiosuite effect as this is destructive. ALT & Drag to a new track creates this dupe

I think id be inclined to consolidate the 500 cues into a fewer number of larger cuse. Highlight a section of say 100 regions and Shift & ALT & 3 to create 1 much bigger cue with all the smaller cues embedded in it with no need to bounce.

Cheers

peter

Peter

[Peter Groom]

Do you want them as single much larger files (ie combined) or kept as sepatates

Peter

[Peter Groom]

I dont understand how come your ears cant tell you if youve sufficiently closely matched the 2 level types with the fcp mixer (NB I wouldnt be using a compressor at all, this will only make loudness issues worse. ) Just use the FCP faders in the audio tool

There are meters inb FCP too. Although NLE meters are just about the most useless items in the world, i dont suppose youve any proper metering or want to go and buy some.

Audio is about ears. Youll detect the smallest of differences once you tune in.
peter

Peter

[Peter Groom]

If there is track playback, id concentrate on getting good mixed ambience from his board by means of a sub group, and syncing up the playback files later.
To a degree you have to decide if you trust this guy to
1) get it right
2) Understand your needs and put them high enough up the pick list

If not then youve got a much bigger sound job to do and id be looking to record all key “live” elements as direct feed (ie not affected by his faders) such as live mics and audience

Nb Dont be tempted to try to run your inputs too hot. Theres little to be gained by risking distortion. a live auditorium mix is very forgiving with natural verb etc, but a recording clipped is awful. keep inputs a little cool so theres space for the peaks to go into, and smooth in post

Peter

Peter

[Peter Groom]

1) id never gate a recording ever. Infact Id NEVER process a recording ever no compression, gate reverb eq. That is something that is exclusive to the final mixdown, where it can always be un picked and more importantly processed with all of the final mix elements in mind so its done in situ!. I dont understand the need to record with an effect. Like a cup of tea, once youve put sugar in you cant extract it. But you can always add a little sugar just before drinking.

2) If the talent makes any additional noises other than whats on the script, they get to go and do it again. Thats what im spraying money at them for.
3) If its already been done like that by someone else, and i couldnt clean it up correctly without clipping the words, id reject it as not up to spec and await the correct version.
40 if it couldnt be re done (ie the VO has died) then id do my best and make sure the client understands that the faults were not of my making.

Peter

Peter

[Peter Groom]

It was a large canvas tent/windbreak on 1 side. It wasnt windy, but with neumanns and a reluctance to do any lf roll off, anything aire movement wise would be disastrous.

Peter

[Peter Groom]

I recorded to a Digi beta camera, which also shot the visuals.
I used a small mixer desk to supply the phantom power and to allow the separate bussing of 4 outputs to the camera.
The kit wasnt a big problem to carry, but as on all tv shoots theres a team of people an a couple of runners to aid.
The wind break to shield the mics was the larger physical problem.
Peter

Peter