Rodney Morris
Forum Replies Created
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Chris,
I don’t think the problem is with the shielding of the speakers (or even with the cables, though they’re more likely to be allowing interferences in). I believe it has more to do with the type of network the cells are on. GSM networks seem to be the problem. I have a GSM phone and I have troubles all the time even with professional equipment that is well shielded. -
Which camera/device are you plugging into? What does it say above the jack? It sounds to me that you are plugging into a mono mic input, which would need a mono 1/8″ plug.
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Is this a drum corps type thing (marching band) or something else?
Here’s a thought if you are going to shoot this with 5.1 surround in mind. You could put up 2 stereo mics – 1 in front of the spiral, 1 in the rear. These would be your L&R front & rear surround sources. The center channel would be the camera mic for whatever camera you are using for that shot. However, this might create some phase issues having a close mic and a far mic mixed on the fronts. I don’t know. Something to think about.
I would probably put some quality mics on the cameras (Sanken, Sennheiser, Schoeps, take your pick). For the stereo mics, you might consider renting two Schoeps MSTC 64Gs if you can get them. They use the ORTF stereo mic pattern which gives a little less prominent center image. I’m thinking this might give you some space to sneak those camera mics up in the center when needed. Maybe just use the MSTC 64G for the front and then use a spaced pair or even a VP-88 on the rear.
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Sorry Sharon but the link isn’t working for me.
One thing you might try is running both ADR and production tracks (for that scene) through a reverb unit with a room setting. This way you will get some matching room reflections for both tracks. Obviously, you have room reflections already recorded in the track, but you may be able to massage the created reflections enough to where it’s believable (or at least, not distractable).
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Well, you replied while I was creating my post. Leave it to me to re-invent the wheel, only harder. Your way is much simpler.
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I’ve never done this before, but what I would try is this. In your audio editing program set up a track with the audio in it (Track 1) and mute it. Then set up a pre fade aux send in Track 1 and return track (Return 1). On Return 1, insert a reverb (big hall). Set the parameters so that all you hear is the completely “wet” signal on this track. This will be your “pre-echo” as you call it. Now go back to Track 1, set up a second pre-fade send and return track (Return 2). On Return 2, insert a delay unit and set it’s parameters to a completely “wet” signal (you want to hear the delay only). Set the delay time at 500ms to start with. You’re trying to get this signal to be the main audio that you hear after the pre-echo. It sounds like this track (Return 2) will also get a touch of reverb to taste. Then it’s just a matter of massaging and tweaking the audio to get what you want.
May not be the “right” way (like I said, I’ve never tried it before), but it certainly is one way.
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The MKH416 (P48) requires 48V phantom power to operate correctly. If you are connecting it to a mic input without turning on the phantom power then you will have problems with it not working correctly (or at all). Make sure that any time you connect the 416 directly to a mic input, that the phantom power for that input is turned on. If you are doing this (and I read your post incorrectly), then please accept my apologies and provide a little more information.
If you are connecting other mics to the input and they work, then you may be connecting either dynamic mics (which require no phantom power) or an electret condenser, which has an internal battery compartment and may be powering off of that instead of the camera.
Hope this helps.
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Ty, thank you for the thoughtful and informative post. My carelessness is shaming at the moment. I evidently had a very large brain fart. In my mind I was thinking he was taking an XLR feed into a MONO 1/8″ plug (mono mic in). Even though the link clearly states that the cable is an XLR to a TRS 1/8″ and even though I said “yes that cable will work”, obviously it will not. I’m well aware that you can’t feed a mono mic feed into a stereo plug without some rewiring. I’m not sure where the disconnect happened in my mind. It was an honest mistake. A stupid, but honest, mistake. My apologies to all. I guess it really is time to start taking those omega-3, fish oil pills.
Secondly, I was just absolutely wrong about the impedance matching thing. I’m not sure why I thought you needed to impedance match a low impedance output to a high impedance input. No excuses, I was wrong. Now I know.
It’s obvious why Ty is a moderator.
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I’ll add my $.02 worth, but remember I’m no acoustician. The lower frequencies that your neighbors are complaining about have no real troubles passing through the thin walls that seperate your flats. The higher frequencies are generally being absorbed or reflected by the construnction material of the walls. Low frequencies need very thick/dense walls to bounce off of. Bass tubes and traps, generally speaking, help control standing waves and nodes, which are bouncing off of the walls. While a bass trap may help absorb low frequencies in YOUR room, it won’t be nearly as effective on the low frequencies that pass through your thin walls and into your neighbor’s flats. I hope this makes sense. I’m not saying it wouldn’t help at all, but it may be more time/effort/money than it’s worth. You would need to place the tubes/traps in the corners of your room. I’m guessing it would be a couple hundred dollars at least for the materials, not to mention the measuring software/tools you would need to properly tune them.
What is a Djind?
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As Ty so elequently stated 😉 impedence matching isn’t necessary here. It is not necessary, in fact it could be degrading, to impedence match a low impedence output to a high impedence input. There is no loading between the two.
I’ll be in the corner with my tail between my legs.