Peter Perry
Forum Replies Created
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This is really an excellent thread. This topic causes a lot of confusion, and I hope everyone who doesn’t have a firm grasp of these concepts reads this thread.
What is being addressed only indirectly in this discussion is the differences in metering.
Analog equipment typically use VU meters… which show an average value of the signal and are woefully inadequate in showing peak levels… because in the analog world 0 dBVU is close enough, because analog recording devices are more forgiving when it comes to levels. In fact, engineers recording on analog tape typically let the levels exceed 0dBVU, especially on electric guitars, because analog tape saturation can be pleasing to the ear.
Not so with digital equipment. Any signal in the red AT ALL rrepresents digital distortion, and digital distortion is ugly sounding, and not at all desirable. Thus, digital equipment typically use PPM meters, or peak meters, which are much better at reflecting what is really happening with the signal. On peak meters, 0dBFS, or full scale, is the MAX signal before distortion occurs.
So, let’s say you connect a mixer that has VU meters to a camera that also has VU meters. I would set the 0dBVU tone on the mixer, and I would likewise set the tone at 0dB on the camera, as long as you have the level match of line level out to line level in, or mic level out to mic level in, as Ty stated.
The confusion comes when you connect, say, an analog mixer with VU meters, to a digital camera with peak meters. If I am not mistaken, and guys, correct me if I am wrong, the SD 442 has VU meters. So 0dBVU is sent from the mixer to the camera, where the signal is set at -20dBFS. The -20dBFS came about simply through trial and error as the best level to set the the record device at so that the person watching the levels hit 0dB on the mixer can be reasonably sure that the signal is not hitting the red on the record device while still getting plenty of level.
I think it is essential to talk about the differences in metering and what the numbers mean to get a better understanding of what is going on.
Again, great thread. This is why the COW exists.
Peter -
That was very nice of you to say, Geralyn. Thank you.
Peter -
Hi David,
I like the Sankens that Ryan is using, but I find that they don’t stand up to heavy everyday usage.
I am partial to the Sennheiser MKE-2 myself.
Peter -
Aw, you guys don’t need helmets, you are right on the money.
I’ve been doing syndicated TV in NYC for over a decade and a half. This coming season is my 4th on Montel. I have done dozens of talk shows and pilots. I have never, ever,
used an outboard preamp for anything, always the onboard preamps on the console. And believe me, some of those consoles sucked.
Having read what I just wrote, it occurs to me….are you guys even using a console?
You said you guys are inexperienced…do you have a dedicated experienced audio person? If not, you should try doing it with one and then you could save hours in your edit. I know Leno and Letterman are done Live-to-tape. You shouldn’t have to go back and mix a whole show from the multitracks, that’s just a waste of time and money.
Don’t make the mistake of thinking that fancy equipment will make up for inexperience. It won’t. And anyway, your Focusrite Octopre’s are more than fine. You won’t hear much of a diff with pricier pre-amps.
I guess I should put my helmet on now.
Peter -
Hi,
It doesn’t really matter where the antennae is pointing.
You shouldn’t velcro them together, sometimes they can cause problems when they are really close together.
Yes, you definitely need to set them at different freq’s.
Peter -
If you don’t like the Azden, I doubt if you’ll like the Rode much better. You should listen to it before you buy it.
You do realize that more often than not the sound has more to do with the way the mic is used than with the mic itself. What I’m trying to say is an experienced sound guy can make your Azden sound good, while an inexperienced one-man-band guy will probably screw up with the best mic.
Peter -
q[BackwoodsTerrorMovie] “but I can be sure that there aren’t documents saying its not allowed either.”
That is terrible advice.
What you really need to do is consult with an attorney who is knowledgeable in copyright law. Once you start editing/adding video/pictures, you are essentially creating a new work using elements that you don’t have permission to use. I believe that because you are using it for student use is immaterial, but that is why you need a lawyer.
Peter -
Welcome Ty,
Although I’m not sure why I am welcoming you, you have been doing a lot of the heavy lifting around this barn for a while now.
At least now you are official.
Peter -
Well, it looks like you’re not an idiot. I think you have something wrong in your headphone/control room circuit.
Peter -
Hmmmm….if you plug in the headphones and leave the level up to the speakers, do you hear anything in the phones?