Peter Perry
Forum Replies Created
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Bingo, Frank. That is where I was heading.
Peter -
This console has a feature that will work nicely for you. Assuming you are using the main outputs to feed your PA system, you can use the mono output buss on the back to feed your broadcast. It has its own level control so you can turn that way down to avoid overdriving whatever gain stage it is that you are overdriving. If you need 2 channels, just get a Y cable. That is the quick fix. I would look at my gain structure, though. I would pump a 1khz tone at zero dBvu through all systems, especially the broadcast chain to find out what you are overdriving and to make sure you are running at unity gain.
Peter -
Hi,
Tell us what console you are using and maybe we can help you set it up a little different to accomodate your needs. You need two discreet outputs, so you can control each level seperately.
Peter -
Hi Scott,
Are your speakers connected to the main outs or the control room outs?
Peter -
I think that for “a couple of hundred bucks” you’re not going to get much. A minidisc recorder is the best suggestion, but you haven’t mentioned a microphone, cables, a boom or any of the other stuff you need just to do a minimal job. I agree that your best bet would be to get pre-recorded SFX online, from Sounddogs or someplace like that.
Just to put things in pespective, the cheapest mini disc I could find at B&H was $170, with no mic, no earphones, no discs… nothing.
I know this isn’t much help, but your budget has you handcuffed. -
Okay, I’ll take a shot at this.
First off, there are two schools of thought on recording audio. One says that you try to get the best sound/levels while recording. The other school says to record straight… with maybe a limiter in line, as you do…and then EQ and compress in post. There is no single “right” way to do things.
In your case, if it ain’t broke, don’t fix it. Your workflow seems to work well for you, your boss and the client are happy. Life is good.
I would be wary of using too much compression/limiting. As you may have found out, too much sounds like crap. I would adjust things so that the compressor doesn’t compress more than 3-6 dB on normal speaking levels. If your meters show you compressing 10-12 dB, back off the input. Keep your ratio around 3:1. Also, be aware of using too much makeup gain on the comp/limiters. When you do that, you increase the noise floor as well as your desired audio.
As for your workflow, it sounds right to me. I might skip the normalize step and not do it at all. But that is just me.[LandofNid] “How do I get the talent to talk in their true voice?”
Welcome to the world of audio. I just lie and tell them I am doing a take, and if I don’t like what I hear, I fix it and stop them and then start again.
Peter -
I’m not sure if it is noteworthy or not, but I am the A1 for the Montel Williams Show, an internationaly syndicated talk show. I also work for Fox, ESPN and any other live or live to tape televised shows. I freelance for whoever books me first and is willing to pay my rate. 🙂
Peter -
Well, there are a lot of things to consider here. Did the guy on the other project take a split of the mics, or a direct outs from the console, or what?
If you are going to do this a lot, at different venues, and you don’t split the mics but want to get a feed from the console you have to consider things like:
Is the board capable of outputting each mic seperately? Not all consoles can do this.
Is the board operator WILLING and ABLE to give you feeds. It is not his/her job to give you quality feeds, but to mix for the house. What I am saying is you have to plan for this, you shouldn’t just show up at a venue expecting to be able to get each mic fed to you without prior arrangement with the sound co.
If this can’t be done through the console, you have the option of splitting the mic signal at the board, again if the sound guy is willing to let you do this.
So, assuming that all this has been planned in advance, then you’ll need to know how many tracks you’ll need…and an interface(s) to get this audio into your computer. The Digi 002 rack only has 4 mic inputs, and a total of, I think, 16 inputs including lightpipe inputs. It comes with Protools LE, which can handle a max of 32 tracks. The Mbox is not suitable for this application. Other options are Mackie Onyx 400, Presonus Firepod, or MOTU interfaces, and i’m sure there are others. These usually come with some multitrack software, like Digital Performer or Sonar but not Protools. You can daisy chain the Presonus and MOTU products to get the track count you need. I don’t think you can with the Mackie and you can’t with a Digi002.
There are also PCI based solutions and some USB solutions available.
Whew. That should get you started
Peter -
I tried out some Azden mics about 10 years ago, and again a few years ago. At that time I didn’t feel that they were a good option. They might have improved, but there are other mics that I have more faith in….namely Sennheiser or Lectrosonics. They cost more but they are worth it.
Peter -
Hi,
I don’t think that moving to a Protools environment in your situation is going to be much of an improvement. If you are just taking a board feed into a DAT, then you are already digital. You say you want “total control” over the audio, but you won’t have any more control in Protools than you have in any 2-track editor like Audition or Sound Forge editing your DAT audio. Plus, you will have the headaches of setting up, configuring, and monitoring your computer/Protools rig during the shoot, unless you have a dedicated audio person. It certainly is less “set it and forget it” than a DAT recorder is.
In any case, unless you see yourself multitracking sometime in the future, an M-box will be sufficient for your needs. Some really good mastering plug-ins might give you more bang for your buck.
If you really want total control over your audio, the way to go is to get a splitter snake, split all the mic signals, record them into a multitrack DAW, and remix the whole thing. That would really kick things up a notch…in quality, headaches, and expense. But it would be a lot of fun.
Peter