[Richard Crowley]

I see NO mention of receivers here anywhere? Your recorder should NOT pick up ANY wireless transmitter. You would need a RECEIVER to pick up the wireless signal, and then feed it into the recorder.

You talk about all these transmitters and microphones, but without similar details about the RECEIVERS, it is anybody’s guess.

[Richard Crowley]

You have what you have. As you say, because of the distance of the microphone, your Signal to Noise ratio is compromised. Your Signal is too low (because of the distance), and your Noise is too high (because of the lower than optimal Signal level.)

There is no magic bullet here. You can try “gating” the dialog so that the background noise is reduced in between words, etc.

In the future, be sure to connect the good audio into the camera also, so that the camera has a TRUE backup of the proper audio track.

[Richard Crowley]

If you are at a university, surely there are several electronics or physics or media (or even maintenance) benches around the campus where somebody could solder that together in a few minutes.

Not sure what you are asking about “configuring the antenna”? Not knowing exactly what kind of transmitter and receiver you have limits our ability to advise on how to connect the antenna. But for positioning, you simply aim them at each other.

And as far as “getting sound to my camera”, how does improving the antenna(s) change anything in the audio path?

[Richard Crowley]

Distance coverage is affected by signal strength. One way to boost the signal strength is to simply use a more powerful transmitter. But there are often laws against that.

Another way of boosting signal strength is to use better antennas. Those little pieces of wire hanging out of the transmitter and receiver are convenient for short distances, but they are the WORST possible solution for long distances.

I use a 400-1000 MHz Log-Periodic antenna to boost range. Some wireless gear manufacturers sell them with their logo emblazoned on the side and charge you $100s for the privilege of flying their flag. But I use the PC-board antennas from this guy….

https://www.wa5vjb.com/products1.html $28, but you have to solder on your own cable

[Richard Crowley]

Audio books have been recorded with a wide variety of microphones, likely including the AT4050. Different microphones are better with different types of voices. The AT4050 might be an excellent choice for your voice, or it may not be suitable at all.

Quite likely even a bigger issue than exactly which microphone you are using is preparing a suitable environment/location in which to do the recording. Two major issues are eliminating local reflections, and blocking environmental noises. Audiobook recordings are traditionally quite “pristine” with ideal acoustics and zero noise. This is a high standard if you want to achieve professional results.

[Richard Crowley]

If I were contracting for dialog recording, I would want it as “clean” as possible, meaning recording uncompressed (i.e. WAV and not MP3) and without any other “processing”. i.e. as “plain ans simple” as possible.

Noise reduction is accomplished acoustically in the recording space. It is not a “filter” you can use while recording, or an “effect” you can apply after the fact.

Voice talent typically have a room (“studio”) where they can shut out as much environmental noise as possible. Temporary/makeshift solutions include recording inside a closet with lots of clothes hanging to absorb reflections, (as well as provide additional isolation from environmental noise). Other ways of making “clean” recordings include recording in the wee hours of the morning when your neighborhood is quietest.

Of course signal to noise ratios are improved with proximity between the microphone and the subject. But there is a practical limit to that based on how the microphone performs with your voice, the style of the material, etc.

[Richard Crowley]

How are you defining “voice acting” here?
Are you talking about acquiring dialog while shooting video? How are you positioning the microphone (whether it is attached to a recorder or not)? Scripted or unscripted (“reality”)? On a sound-stage or out in the Real World?
Or are you talking about dramatized scripts for audiobooks or something.

WHAT you are recording and HOW, and for WHO are very important parts of the puzzle, and without that kind of information, we probably can’t offer you any useful advice.

[Richard Crowley]

With no sample to hear, we would just be guessing. But my first advice would be to go back and check the original, and then check your mix, and then your playback arrangement. Listen to just one channel and just the other channel (without attempting to mix them together) at each point along the chain.

[Richard Crowley]

No, there should be no risk of interference except possibly from operating two wireless systems (yours and the venue’s) on incompatible channels. But you should be able to set your wireless system to avoid interference.

Consider also the possibility that you might be able to get a “feed” from the venue system.

[Richard Crowley]

I don’t have any advice on that as I am not in that business model. You might want to search these (and similar) forums for “rates”, etc. There are jobs offered/wanted forums here in the COW that may have hints about rates.

You might also want to start a new discussion with a more targeted subject line to get responses about rates. The moderator of this very forum (Ty Ford) works in your general area and I am sure he could offer some good advice.