Peter Perry
Forum Replies Created
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Sound Forge has a very good Noise Reduction plug-in.
Peter -
It sounds like you were on the edge of your RF range….how far away was the transmitter from the reciever when you heard the hiss?
Peter -
Something I do a lot is to take a small strip of moleskin and wrap it around the outside of the mic head. Then I make two “footballs”… you know the things we made as kids out of paper…out of gaffers tape with the sticky side out. I then put the mic head in between the two footballs with the mic head barely showing, and then gaff tape the whole shebang to the talents chest under the shirt. It’s not perfect, but it cuts down a lot on clothing noise.
I don’t know of any solution that works 100% of the time.
Peter -
[WizardPoet] “Could there be another way to monitor each channel, without more equipment, if for only a ‘rough’ approach?”
Not that I know of.
Peter -
I would pick a camera and hard wire it, if I were you. Even top of the line Sennheiser or Lectrosonics wireless are subject to dropouts. But if it is just a backup…..?
That new Zaxcom stereo link looks interesting, though. I hadn’t seen that one yet. But it’s very expensive for a backup system. Whatever wireless you get, though, make sure it is frequency agile so you have options in case you get into RF hell. -
I’m not sure if it’s what you need but checkout Slingbox. It is a way to monitor a signal over the web, live.
Peter -
I’m not sure from your post what you are trying to do. Do you want to produce material mixed in surround sound (5.1)?
If you do, then neither of the units you mentioned will work….you need 6 discreet inputs and 6 discreet outputs.
Let us know if that is indeed what you are trying to do, or if I have misunderstood your post.
Peter -
Hey Rich,
Doing it this way, you will need a minimum of two transmitters and six receivers…afaik, there is no “set” that will do what you are trying to do.
Questions. Is this is a bar or nightclub? If so, you need to be concerned about interence with all the wireless communications that could be present; cell phones, blackberries, walkie talkies, etc.
How are you shooting? Do you really need wireless to all 3 cameras? Could you hard wire to one camera and leave the other 2 on camera mic for sync?
What about recording into a laptop? Or a DAT machine?
There have to be a half-dozen better (and cheaper) alternatives to achieve what you want, which is to free up the cameras from being attached to cables, correct?
Give us some more detail, maybe we can give some more concrete alternatives.
Peter -
You should also make sure that everything is wired correctly and that no phase reverse switches are pressed…the one that looks like a zero with a slash throught it….so that you don’t have any problems in the future.
Peter -
Hi David,
Good starting point settings for a compressor for speech are:
Set the threshold to 0. This tells the compressor to leave uncompressed any signal that stays below 0, and to compress any signal that exceeds 0.
Set the ratio to 3:1. This is how much compression will occur when the threshold is exceeded. For every 3 dB over the threshold an incoming signal goes, the compressor will output only 1 dB.
I’m not familiar with Soundtrack Pro, so I don’t know what other parameters you can adjust, but other common ones are attack, which tells the compressor how fast to react to a signal;
release, which means how quickly to “let go” of a signal; and output or makeup gain.
In your case, if the dialogue is not peaking but the applause is, adjust the threshold so that the compressor only “works” during the peaking sections. Adjust the ratio to get the applause to stay out of the red.
In general, if you are getting more than around 6 dB of comression on speech, then you need to back something off, either the ratio or the threshold, because you will begin to hear what is called “pumping” as the compressor alternately compresses and releases the signal.
Peter