Rob Neidig
8
COW Coins
Forum Replies Created
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Craig,
Regarding using two 302s to two cameras –
There shouldn’t be any real problem syncing these up in post. You may get a small drift over time, but you could re-align song by song if you are doing a longer program. The problem you will have is that you have to mix the 3 mics on each mixer together down to a stereo file on each camera. Normally for music post-mixing you would want all six of your tracks to be recorded separately so you could mix them together in post. Since I’m assuming your cameras only record stereo, you are going to have to do a submix of boths sets of 3 mics, then mix those two stereo files together. So it’s possible, but not optimal.
Regarding using the AT4053b or Shure vocal mic on instruments –
It depends. What instruments? What Shure vocal mic?
Have fun!
Rob
Rob Neidig
R&R Media Productions
Eugene, Oregon -
Plus I would use a different brand of DVD-R. I’ve never met a Memorex disc I liked. For consumer discs that you can buy at OfficeMax, Best Buy, etc., I’ve had the best luck with TDK. The best professional discs are made by Taiyo Yuden, now owned by JVC.
I’ve also had issues with Adobe Encore (I haven’t used DVD-A4) in the past where if you choose “Compile and Burn a DVD” (or whatever the actual language it uses), then the disc doesn’t play in all players. But if you choose “Create a disc image”, then burn the disc from that disc image, it will play. Weird, but whatever it takes.
Have fun!
Rob
Rob Neidig
R&R Media Productions
Eugene, Oregon -
Cody,
Since nobody else has responded yet, I’ll try to at least point you in the right direction. I’ve used the Sound Devices 442 a lot, but I don’t own a 552 or 744t. But a quick look at their manuals tells me that the 552 has “Direct Outputs” (552 manual page 22) for each channel. You would use these to go to the inputs on your 744t. It appears you would need 2 TA3-XLR cables and 2 TA3-TA3 cables to do this, as the 744t looks like it uses XLRs on Channels 1 and 2 and TA3s for channel 3 and 4 (744t manual page 15). You can then route each input to whatever track in the 744t you want, though the default looks like it’s set so that 1 goes to 1, 2 to 2, as you would expect (744t manual page 22).
Have fun!
Rob
Rob Neidig
R&R Media Productions
Eugene, Oregon -
Joanna,
Ty is of course right that you need to be able to hear what’s going on in your soundtrack. You need to be listening on systems that don’t hype certain frequencies to try to get them to sound good, like typical home stereo systems might. You want speakers that are designed to be fairly “flat”, so you hear what you are really working with. I think with your budget, you can get a decent pair of nearfield monitor speakers. The Yamaha HS50M monitors at about $300 per pair are pretty good. You might also consider the K-ROK RockIt monitors, though I think they are hyped a bit, they still work pretty well. Even M-Audio’s Bx5a or Bx8a monitors have a decent reputation. The next REAL step-up would be to something like the Adam A7X monitors. But they are $700 EACH. With any monitors, though, you need to check your material on several sources – your TV system, your car if it’s audio only, a portable player, etc. – to make sure that what you are mixing is going to translate well to the real world. And finally, if you have a terrible room to listen in – one with reflective surfaces, parallel walls that might create standing waves, etc. – then it doesn’t matter what speakers you have, you can never trust them. And room treatment can cost a bundle.
Unless your room is really bad, though, I think you’ll see a big improvement with any of the speakers listed above.
Have fun!
Rob
Rob Neidig
R&R Media Productions
Eugene, Oregon -
Ty,
Nice review and apparently a very nice mic. I have several of A-T’s mics and they are generally a very good value. Sometimes even stellar like the AT4047. Anyway, I always appreciate your reviews.
I think Audio-Technica made one mistake, however. This is at least the second time I have seen this mic referred to in a pro audio forum as a “4050”, which I know you know is a long-established multi-pattern model from A-T. It is SO easy to flip the numbers around as you did in your thread title that I think A-T would have been smart to have used a completely different number for this mic to avoid any confusion.
Anyway, just an observation on a Monday morning. Thanks again for the review!
Rob
Rob Neidig
R&R Media Productions
Eugene, Oregon -
However your DL disc may not play in some players. Some players just do not like the dual layer discs. Good luck!
Rob Neidig
R&R Media Productions
Eugene, Oregon -
Joseph has great info on how to remove noises.
That said, I think once you remove all the things you’re talking about removing, I doubt you’ll have much left. This isn’t magic. Taking out a constant background rumble or buzz can work pretty well. Removing the occasional bang or beep in the background is great. If there’s very much of it, though, you’ll end up removing the voice you want to keep along with the background sound. There’s no substitute for getting better sound when recording it. If the level of the voice you want to keep is WAY above the level of the background noises, then you are far better off and might not need to remove much of anything. So in this case, you might need to use what Ty Ford calls the “reshoot filter”. That is, you may have to re-record in an environment where the voice is not drowned out by background noises.
Have fun!
Rob
Rob Neidig
R&R Media Productions
Eugene, Oregon -
Hard to beat a Mackie 1202 for this kind of application. 4 mic pre inputs, plus four stereo line in channels. Has XLR outs, and even channel inserts if you want to send an individual mic out to a separate recorder.
As to whether you HAVE to have XLR, not necessarily. A balanced 1/4″ output should be fine.
Have fun!
Rob
Rob Neidig
R&R Media Productions
Eugene, Oregon -
Super glue, a cowboy’s lasso, about a 3 foot length of chain with a padlock, a welding iron…
Sorry to poke fun, but I think your boom guy’s gonna hate you for trying to put anything besides the mic/shock mount/blimp, etc. on the pole. It’s hard enough holding the darn thing through some long takes as it is. I think a better idea is a bag that the boom op can wear, or a case with a belt loop, or something like that. Keep it off the pole.
Have fun!
Rob
Rob Neidig
R&R Media Productions
Eugene, Oregon -
Eric wrote: <>
Players have certainly improved in this area. But as a battle-scarred veteran of the beginnings of DVD, I can tell you that many early players – and practically all laptops in the early days – tended to choke on anything higher than 7Mbs or so. I’m guessing some still do.
YMMV
Have fun!
Rob
Rob Neidig
R&R Media Productions
Eugene, Oregon