Peter Perry
Forum Replies Created
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Wow.
In my experience on truck and studio shoots, everything is slaved to house (truck)TC via BNC. That is about the extent of my ability to answer your questions. 🙂
Peter -
How about a Digidesign M-box?
Peter -
What is the application, Bill? Are you micing a speaker for a PA system?
As for handling noise, is your gain structure set up correctly? If the gain on the transmitter is too high, you’ll get a lot of noise.
Card lavs work but if they shift position and get off axis, you can get hosed if you can’t get in there to adjust it.
Peter -
And one other thing, in FCP you should be mixing your levels to just under 0dBfs, WITHOUT going into the red at all. If you go into the red, back it off until you don’t.
Peter -
[Charlie King] “It is not unusual to loop the mic cable under the clip to take strain off the connection of the cable to the mic. I think this is mostly what you are possibly seeing”
Absolutely true. If I had an A2 that did not routinely do this, they wouldn’t be working for me very long.
However, the main reason for micing this way, and I do it myself when neccesary, is to reduce the plosive sounds from popping the mic. These mics are most likely omni mics, and pointing them down like that does not degrade the quality of the sound, but it helps a lot in terms of mic popping.
Peter -
It’s probably not merely a levels issue. Professional CD’s are usually mastered by a mastering engineer who uses his/her experience with tools like compression, limiting, and EQ to get the best results out of a mix onto CD. Modern hip-hop, hard rock, and rock/pop recordings are usually compressed to death in order to maximize the loudness on the CD.
Peter -
This comes up often for me. I don’t think it sets a precedent, this is common practice. Some places will pay to train, others won’t, that’s just the way it is. I won’t give up a paying gig to train for free, but if I am not working that day, then I’ll do it.
I’ve never been taken advantage of, but I have established working relationships with a number of production houses/companies that ended up being long term.
Peter -
In NYC…at any of the major news organizations, $350 is about average. It would be a little low in a production house, and really low for syndicated or major national show.
Peter -
I have never had good luck with rechargeable batteries. Regular batteries slowly give up the ghost and the equipment seems to be able to tolerate that……rechargeables work/then don’t. Real quickly.
I have been working in theater and TV sound for over 20 years in Boston and NYC and no one, and I mean NO ONE, uses rechargeables. And when I think of some of the nickel squeezing places I have worked, that’s saying something.
Peter -
Hi Bob,
This is a common problem and one without an easy answer. It would be very difficult for the average non-audio person with FCP audio plug-ins to make much of an improvement. It is impossible without hearing the clips to recommend something to try. It would be easier to make the lav match the camera mic. Sometimes masking the problem with music helps.
Peter