[Richard Crowley]

[ryan elder] “if you do it right while recording in the first place, why does the bell have to be unrung?”
Because it is impossible to “do it right while recording in the first place”. You don’t know how the mix will need to be when everything is put together. Unless you are doing some super simple and trivial. It just can’t be done in the Real World.

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Recording audio without metering and monitoring is exactly like framing and focusing without looking at the viewfinder.

[Richard Crowley]

Do other headphones work with the Mackie 802VLZ4 mixer headphone output?
Do the Beyer DT770 headphones work with other gear’s headphone output?
The Beyer DT770 seems to be available in three different impedances: 32 ohms, 80 ohms, and 250 ohms.
Do you know which kind you have?
The headphone output of some gear doesn’t have enough current to drive 32 ohms,
while other gear may not have enough voltage to drive 250 ohms to full volume.

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Recording audio without metering and monitoring is exactly like framing and focusing without looking at the viewfinder.

[Richard Crowley]

If you are shooting with a portable/moving camera, it is problematic how do you get all those channels of audio out to the camera?

OTOH, for a stationary recorder scheme, a cost-effective solution would be to use something like a Blackmagic Audio to SDI Mini-Converter.

That gadget will let you embed four analog audio signals, (or eight digital audio signals) into an HD-SDI video stream. And with two of them in series, you could embed eight analog signals (or 16 digital audio signals).

Then you can record the HD-SDI video to a video recorder like the BlackMagic MyperDeck Studio or HyperDeck Studio Mini.

https://www.blackmagicdesign.com/products/miniconverters/techspecs/W-CONM-04
https://www.blackmagicdesign.com/products/hyperdeckstudio (records to plug-in SSD)
https://www.blackmagicdesign.com/products/hyperdeckstudiomini (records to SD/UHS-II cards)

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Recording audio without metering and monitoring is exactly like framing and focusing without looking at the viewfinder.

[Richard Crowley]

Transcoding between 44.1KHz and 48KHz is done all the time. Modern software performs this process essentially seamlessly with no change to speed, pitch or anything else. By using mathematical extrapolation techniques, the waveform is reproduced exactly so that what goes out is a faithful reproduction of what came in.

It is typically better practice to do the conversion first to do as many steps as possible in 48KHz

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Recording audio without metering and monitoring is exactly like framing and focusing without looking at the viewfinder.

[Richard Crowley]

Mac or PC?

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Recording audio without metering and monitoring is exactly like framing and focusing without looking at the viewfinder.

[Richard Crowley]

Suggest exchanging left and right to confirm that the problem is the speaker itself and not any other part of your setup. (Including the audio cable to the speaker and even the power cord to the speaker).

If it is only 1 month old, strongly suggest invoking the warranty to get it replaced or repaired. Consider yourself fortunate that the problem turned up so early that you can have them resolve the issue.

This is similar to the kinds of problems that people have encountered with KRK Rokit speakers in recent years. It appears that KRK was using some sort of material (“glue” on the PC board) that is causing strange problems like this to occur after a few months/years with KRK Rokit speakers. It is possible that Behringer and KRK products are manufactured by the same contractor in China, or at least using similar materials(?)

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Recording audio without metering and monitoring is exactly like framing and focusing without looking at the viewfinder.

[Richard Crowley]

It would be helpful to know exactly which iRig adapter you are asking about. And which mixer.
When you were poking around the XLR connector did you confirm that you were getting audio between pin 2 and pin 3?
Yes, there are many small mixers that have USB output. You should be able to plug that into Lightning with the proper adapter.

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Recording audio without metering and monitoring is exactly like framing and focusing without looking at the viewfinder.

[Richard Crowley]

I was unable to locate you on YouTube. There was nothing I could identify as “dadvgirls”? A link would not be out of place here IMHO.

Assuming a typical room, you probably could use some acoustical treatment to reduce the acoustics of the room so that it sounds less like you are recording in the toilet.

As Ty said, recording 3 people with 1 microphone is quite problematic. Unless you have a talented boom operator and a scripted show. But using two microphones (each between each pair of people) might work. You could try a pair of desk microphones like these:

https://www.amazon.com/dp/B019H3VNAQ

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Recording audio without metering and monitoring is exactly like framing and focusing without looking at the viewfinder.

[Richard Crowley]

Is you interest focused only on the small transcribing segment of the production workflow?
What was the production workflow planning? How is camera and picture and sound editing using this timecode?
Who is using the timecode to sync sound and picture? What do they have to say about diddling the timecode?

We still have not the slightest clue WHERE the timecode is coming from, or HOW it is getting into your files?
Do you have no visibility into other parts of the production?
Perhaps you should ask in an FCP forum how to reset the timecode of a clip?
Or ask the transcription service to use clip running-time rather than timecode for their cue numbers?
Although that would seem to throw a big monkey wrench into writing and editorial.

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Recording audio without metering and monitoring is exactly like framing and focusing without looking at the viewfinder.

[Richard Crowley]

Not enough information. Since the timecode is NOT coming from the Zoom recorder where IS it coming from? You have revealed nothing about what camera(s) you are using or how you have them connected to the Zoom recorder. It sounds like you are feeding timecode from your camera(?) into the recorder, in which case the solution has nothing to do with the Zoom recorder, but rather with the camera (or whatever source the timecode is coming from).

It might also be helpful to know why you think that timecode starting from zero would be an advantage?

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Recording audio without metering and monitoring is exactly like framing and focusing without looking at the viewfinder.