[Ty Ford]

Craig,

FCP X May. I have begun using it, but haven’t tried sub frame bumping. One way to make these adjustments is to wait until after your fine cut. Then export the audio, tweak it and replace it.

Cable length doesn’t really come into it. Audio travels down a wire faster than it does through air. If your mics are close to the stage, you’ll do better.

According to the Haas Effect, sound that is delayed up to about 22 milliseconds is perceived as one reinforced sound. Delays of longer than 22 milliseconds begin to be heard as discreet echoes.

Regards,

Ty Ford
Cow Audio Forum Leader

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[Ty Ford]

About these of mics. I’ve worked it so that I have a board feed on one track and a mic in the audience (a camera mic actually) on the other track. The camera mic captures some of the audience but is there mainly to get the combined sound of the PA and the spill from the amps on stage, the drums and other percussion.

You have to time align the two tracks in post to account for the distance of the camera mic from the stage. You can do that by zooming in on waveforms and slipping the camera mic tracks to the left to match the console feed. As a thumb rule, since sound travels about 1 foot per millisecond, you can get close with simple math if your timeline supports that. How many feet from the stage was that mic? That’s roughly how many milliseconds you need to pull the two tracks together.

Then you add just enough mic sound in to make the mix feel like it did when you heard it. You might also want to add some reverb from a good plugin. Maybe not.

Regards,

Ty Ford
Cow Audio Forum Leader

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[Ty Ford]

“No tech rehearsal or anyone who knows the mixer well. No time to experiment”

This is a stupid way to approach a job. (Not saying you’re stupid. Whoever put you in this box is stupid.)
I’d walk away from any offer like this (and have in the past).

Brian’s advice is good if everything is as it should be. Be prepared for it not to be. I’d want a prefader send because if someone’s mixing and they move the faders (and you can bet they will) your levels will also change. If you use Brian’s setup you need eyes on that first 302 to adjust levels if (when) they do something at the board.

Regards,

Ty Ford
Cow Audio Forum Leader

Want better production audio?: Ty Ford’s Audio Bootcamp Field Guide
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[Ty Ford]

Hey Nikos,

Any unbalanced circuit can become balanced simply by using a transformer or an active circuit.

I haven’t heard the AT899, but AT is very good at what they do.

Regards,

Ty Ford
Cow Audio Forum Leader

Want better production audio?: Ty Ford’s Audio Bootcamp Field Guide
Ty Ford Blog: Ty Ford’s Blog

[Ty Ford]

Hello David and welcome to the Cow Audio Forum.

My 744T levels compared nicely in FCP. The same with the Sound Devices 664. Can you grab audio from your timeline and have the DAW software tell you its highest peak?

Regards,

Ty Ford
Cow Audio Forum Leader

Want better production audio?: Ty Ford’s Audio Bootcamp Field Guide
Ty Ford Blog: Ty Ford’s Blog

[Ty Ford]

Hello Nikos,

A) Is the micon cable balanced? If not, does it make any sense to use the micon 5 adapter in order to plug an xlr cable to my dr60d?

>>Not all lavs are balanced. Yes you need their adapter.

B) Should I phantom power it?

>> Yes, using their adapter.

C) Is there any reason why I should prefer a micon cable extension instead of a proper xlr cable? Rode says that ” Like all MiConTM cables, this 3m (10) length is heavy-duty, shielded and Kevlar reinforced”.

>> The best approach is to get the signal balanced as soon as possible. If this is the cable between the mic and power supply, then, by all means use it.

D) My dr60d xas 2 xlr inputs and one mini-jack (which is NOT phantom powered). Would it be possible to connect the lav with an adaptor to the minijack if the other two xlr inputs are used?

>> On its own, the Rode Lav requires 2-5 VDC. I don’t know if the DR-60D provides that at its unbalanced input, but the bigger problem would be that that unbalanced input is stereo, not mono. Therefore, plugging a mono mic into it will likely not produce the desired effect.

I am not writing to Rode because after searching the forums I see many people have some of these questions too.

>>So why not contact them and tell us what they said?

Regards,

Ty Ford
Cow Audio Forum Leader

Want better production audio?: Ty Ford’s Audio Bootcamp Field Guide
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[Ty Ford]

Hello Nikos and welcome to the Cow Audio Forum.

Yes, it’s always better to use balanced cables.

Regards,

Ty Ford
Cow Audio Forum Leader

Want better production audio?: Ty Ford’s Audio Bootcamp Field Guide
Ty Ford Blog: Ty Ford’s Blog

[Ty Ford]

Hello Ruth and welcome to the Cow Audio Forum.

Try opening the mk iii input as little as possible (one click) and use the line out from the DR60-D to feed the mk iii.

Regards,

Ty Ford
Cow Audio Forum Leader

Want better production audio?: Ty Ford’s Audio Bootcamp Field Guide
Ty Ford Blog: Ty Ford’s Blog

[Ty Ford]

🙂

Want better production audio?: Ty Ford’s Audio Bootcamp Field Guide
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[Ty Ford]

Peter,

If you heard our mk iii tracks, you’d never know they were recorded on a DSLR.

Granted, we used a TASCAM DR-60D as preamp.

Regards,

Ty Ford
Cow Audio Forum Leader

Want better production audio?: Ty Ford’s Audio Bootcamp Field Guide
Ty Ford Blog: Ty Ford’s Blog