Peter Perry
Forum Replies Created
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The unit I was refering to at Markertek is a Radio Design Labs RU-SM16.
Peter -
Really? It is working for me.
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Erik,
[erik1185] “I will bring it into a tech and see what he says about a price to repair if I cant fix it myself.”
Good idea. Did you try Soundcrafts website to see if they have a pdf of the schematic?
Peter -
Hey Ruby,
[Ruby Gold] “how possible it is to edit out the sounds of cars passing by, or wind, or tone down down street noise”
For all intents and purposes, it’s not. The way to address these issues is before you ever roll tape.
Get windscreens for your mics to deal with wind issues. Have your talent stand so that his back is to the wind, etc. That kind of stuff.
Make sure your gain structure is set correctly, and get the mic in the talents sweet spot, so you can get a better level without cranking the gain.
As far as street noise and cars passing by, shoot at hours when there is less activity, if you can. If you can’t, then, well, you ARE shooting in an urban setting, these noises shouldn’t be too distracting if the source is obvious.
Don’t think you can go in with Audition and “clean it up in post.” Ain’t gonna happen.
Peter -
Hey Bob,
I have never used these, but I saw these in Marketeks catalog.https://www.markertek.com/SearchProduct.asp?item=RU%2DSM16&off=81&sort=prod
You can select between peak metering and VU….you CAN have it both ways. Like I said, I have never even seen these things in real life, so i can’t recommend them, but thought you might be interested.
Peter -
Jack,
[jack halsey] “it seems to be that the whole “mix” can be controlled via gain or the volume rubberbands to fade in or out the music.”
Well, yeah, that is the bare bones of mixing, but if that was all there was to it, then a lot of audio guys would be out of work.
[jack halsey] “I still intend to run it thru dolby speakers etc”
I don’t know what you mean by that.[jack halsey] ” dont see it as complicated as mixing tracks of a music composition”
It is the same thing, only your elements of the mix are different. A good audio person will carve out holes in the music with eq for the dialogue to sit in, will ad compression to the elements if needed, will eq and ad reverb to scenes to help match the acoustics of the scene before it and the one after to create a seamless soundscape. It ain’t just riding levels. If this project is important, (and aren’t they all?) then I would hire an audio person to do your mix. Just the nature of your question tells me that you don’t have the experience to do justice to a film.
Peter -
Hey,
You want to select a frequency band that does not have any broadcast stations in it. You can go here:https://www.sennheiserusa.com/newsite/mat_dev/frequencyfinder/Freqfinder-ew.asp
and find out what television stations are in your area. Also keep in mind if you have any other wireless stuff like other mics, IFB’s or headsets, you’ll want to not be on those freqs. Also, you could call around to places that rent wireless stuff and ask what freqs they use. They may or may not tell you. 🙂
Peter -
[Rob Forsythe] “As a studio engineer, do you know of any other RECORDING ENGINEERS that think like that?”
Actually there are quite a few…..in a roundabout way. I’m refering to the practice of going back to tubes in pre-amps, amps, compressors, and other outboard gear in an attempt to put some “warmth” back into digital recordings that they felt was present in analog recordings. It is common to hear engineers complaining of harsh, or artificially bright sounding digital recordings. Let’s face it….until we can sample at infinite sample rates, we must be leaving behind some information, so digital recordings add their own “flavor” just like vinyl does. To me, the digital medium is better because a)I don’t hear the harshness some others do, and b)I don’t like pops and clicks.
I will buy the “perfect copies” for distribution arguement, though. -
But don’t try to tell that to all the audiophiles out there that believe just the process of encoding a sound source into digital detracts from the experience less than the vinyl, or more accurately, that the process of recording to vinyl leaves a more pleasing “flavor” than the process of encoding to digital.
Peter -
Hey Jim,
Wind is very difficult to deal with because it isn’t happening in one freq or band of freq’s….it is very broadband and is constantly changing. and because of that, what you do to minimize wind noise will probably affect dialogue also.
Without hearing the sound, nobody can give you settings to start with. Try using a parametric EQ with a sweepable frequency control. Use the boost/cut control to drop the level 5 dB or so, then sweep the freq control through the selected range, and if you find someething that helps, adjust the bandwidth settings so that you affect the desired sounds as little as possible. Don’t expect big improvements, you’re kinda stuck. You could also try noise reduction software if you can get a long enough sample to use.
Peter