Rodney Morris
Forum Replies Created
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It’s called DINR – you should have the LE version of it. I’ve not used the LE version so I’m not sure how it differs from the regular version. It may only be available as an AudioSuite plug.
Rodney
Freelance Sound Technician/Mixer
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Well I see no one has posted anything here. I’ve not used those exact models, but I have mixed with Genelec and Adam monitors.
You won’t be disappointed with the Adam. Due to the ribbon tweeters, high frequency reproduction is very smooth and is less likely to give you ear fatigue after long periods of use.
However, you already have Genelecs in one edit room. I’m a big fan of consistency between rooms. Both rooms should sound the same (in my opinion). Others would argue that by having Genelec in one room and Adam in the other it would give you the ability to check the mix on more than one system (which is recommended). So it kind of depends on your philosophy.
Asking whether the Adam A7 is better than the Genelec 8030A is akin to asking if the Porsche 911 turbo is better than the Audi R8. It depends on your preferences. I think you’ll be happy either way. Ask your supplier if you can try the A7 and if you don’t like it, maybe you could exchange them for the Genelec monitors. Just a thought.
Freelance Sound Technician/Mixer
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Crank up the music track! LOL
Seriously, there’s little that you can do beyond what Stephen suggested.
ProTools has a noise reduction plug-in. To get that to work you would need to capture a good 1/2 second sample of just the noise that you want to reduce. That’s gonna be difficult unless you can find a section where the talent is moving but not talking. If you do get a good sample, use the reduction very judiciously. Too much and the results will be some serious degradation of the audio. However, with my experience in ProTools, I really don’t think the reduction plug-in will help as much as you would like. It works best with constant hums and buzzes, but it’s worth a try.
Good luck.
Rodney
Freelance Sound Technician/Mixer
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I only get transcription requests a few times a year.
Freelance Sound Technician/Mixer
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Forgot to mention that, yes, you generally want to use line level feeds from your mixer to the camera. But if you are in a bind and have to switch to mic level for the sake of the transcription feed, you’ll be OK. Just remember to monitor the audio carefully at the camera. If you keep the feed line level then you’ll need a line to mic adapter, but that will likely include yet more adapters to go from 1/8″ to XLR (most line to mic adapters are XLR), then from XLR to whatever connector you have on the Y cable. It gets a bit complicated…
Freelance Sound Technician/Mixer
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You must confirm that the mic input is a stereo input. Just because it is a stereo player doesn’t mean that the input is stereo. Sorry to be beating the same drum, but it is important.
The timecode comes from the TC Out from the camera.
I’m assuming that the input is a 1/8″ input. I can’t remember if you specified this earlier. The Y cable would need to be one male stereo mini (1/8″) connector to two female mono mini connectors. Actually the two female mono connectors can be any unbalanced type (1/4″, RCA, etc…) but they must terminate into the male stereo 1/8″ plug.
The audio and TC will automatically go to seperate channels of the recorder assuming that the input is stereo and the Y cable is wired correctly.
Freelance Sound Technician/Mixer
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Well, the mic input on a consumer mp3 player is likely to be a mono input, which means you won’t be able to record split track. You HAVE to be able to do split track to record TC for the time code reader to work. IF the mic input is a stereo input, then it is possible. As was stated earlier, you’ll need a Y-cable and then feed a mic level mono audio feed into one side and a mic level TC feed into the other. There is still a question of whether or not there will be any cross bleed from the TC onto the audio track. My guess is there will be, but it may not be too bad. As far as the bit rate question is concerned – I’m not sure. But I would give it a shot before I bought a separate recorder.
The Zoom H4 is made by the Samson company. It has two XLR inputs, but they seem to be mic level only.
I generally charge $25 for timecode transcription recording unless it’s for the networks. Network news pays a flat rate of $75 for an audio package rental (mixer, mics, etc…) which includes a transcription recorder.
Freelance Sound Technician/Mixer
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I use a Zoom H4 ($300) for this purpose. Record split track mp3 Ch.1 mixed audio Ch.2 TC. At the end of the shoot, plug in the USB cable from the H4 to producer’s computer, transfer the files and you’re done. However, even with TC padded (with a simple Shure attenuator/pad barrel adapter. A line to mic adapter would be better, but to my shame I don’t have one.) I still get bleed over into Ch. 1. Wasn’t a problem for the transcription house, as far as I know.
Yes in the “old” days (ie. just a couple of years ago) we used cassette tape.
BTW – transciption recordings are a separate, billable item. That usually separates the serious clients from the “I just want to milk you for all I can get” clients.
Freelance Sound Technician/Mixer
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I’m not 100% sure that this is the correct answer. Part of the deal is that many lavs don’t require a full 48V to operate, and in fact only need about 12V. So it could be that the power supply has a transformer in it to make the incoming 48V the correct voltage. Other power supplies have battery compartments and use the battery to power the mic. I would be interested to hear from the experts on this one. Hello, Ty are you out there?
Freelance Sound Technician/Mixer
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I personally suggest going with power supplies from the respective manufacturers, ie. a Sennheiser power supply for the MKE-2 and a Countryman power supply for the B3. Some folks think that all power supplies are the same, but that’s not the case. Give the folks at Trew Audio a call. They can get them out to you pretty quickly. But you’ll need to know what kind of wireless system you are using (specifically the connector on your mics). Basically you will receive a power supply with a small lead fitted with a male connector (matching the connector type of your mic/wireless system). Also, ask to see if the power supplies have a battery powered option as well. I find that to be helpful every now and then.
Hope this helps.
Rodney
Freelance Sound Technician/Mixer