[Ty Ford]

Hello Lou and welcome to the Cow Audio Forum.

Bill offers some very good advice. Even if both devices are recording 48 kHz, you can still get drift. SMPTE is your friend. Planning on short shots instead long ones may help if the clocks don’t run at the same time.

Some folks luck out and have two devices that have very similar clocks and can run long. You just never know until you try it.

Regards,

Ty Ford
Cow Audio Forum Leader

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[Ty Ford]

Richard,

I have several new pair in the box and think (but do not know) you might be right.

Not a bad thing for MDR7506. They are a bit hyped in the top and bottom.

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]

Hi AL,

I have Garfield Softies on my MDR7506. Had them there for 5-6 years. They are very comfortable, sound good and last well. Give yourself a stocking stuffer.

https://tinyurl.com/lzcgs3z

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]

Al,

I think a little of both. I have a Sign 44 (not for regular use) and it has LEDs but fewer…and a peak light.

No way to get anything other than a general idea what’s going on.

The analog meters of the FP32 really aren’t big enough to show the same amount of range any Sound Devices mixer does. Then you have meter needle ballistics and damping. The audio world changed for the better when those guys left Shure and opened Sound Devices.

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 Michael and welcome to the Cow Audio Forum.

The 32 is a pretty old mixer. Not saying it won’t work or caused any problems, just sayin’….

Without knowing what the levels are on the HVX200, you really don’t know how to calibrate it to your mixer. I’ve also found that some of the cameras were designed with -10 level audio inputs instead of +4 dB inputs. If you’re using line level out form the mixer, that means, if you can calibrate with a -20dB tone from your mixer, you will still run out of headroom on your camera.

You can bypass that problem by using the camera’s mic level inputs.

The 32 uses analog metering. Not as precise as the newer LED metering on a mixer like the Sound Devices 302.

About the Sony versus the Lectro. When you brought the audio into FCP, did both mics provide the same level?

Regards,

Ty Ford

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

[Ty Ford]

With respect Jeff,

I bought my first Apple in 1987. Apple is not some “developer.” It’s Apple, who should know better. They’ve been at the rodeo a long time; from the OS on up. This feels like another case of Apple’s generational shift; new hires losing track of basic housekeeping. Perhaps existing older staff just forgetting what professionals need to do. Not likely though.

If you had the folder information, you could have just passed it on. Why be so hostile? Who peed in your Wheaties this morning?

Regards,

Ty Ford

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Ty Ford Blog: Ty Ford’s Blog

[Ty Ford]

Because, Jeff,

FCP X is the ONLY app I have ever used that has this problem.

BTW, since I last posted, Mike Bombich of CCC let me know of two ways to fix the Apple problem.

This is one: https://www.screenr.com/E4t

I do like the “create a folder on your Destination drive and setup a FCP backup to it” suggestion. earlier on this thread. I’m trying that tonight to see if it works as suggested.

Regards,

Ty Ford

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

[Ty Ford]

HI Marc,

The Sennheiser G3 comes with an ME2. The MKE-2 is an upgrade. The ME4-N is a cardioid patterned mic. As such you have to be very careful with placement. If the mic isn’t aimed at the speaker’s face, the sound won’t be ideal. It’s better to center mount a cardioid lav on a tie or shirt plackett.

Some lavs are so directional that head turns are a problem.

You also need to be careful about nose snorts and down breaths. Directional mics are much more susceptible to them than omnidirectional mics.

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]

Max,

No. for home and office interiors you want a super cardioid like a Audio Technica 4053b or Audix SCX-1HC.

You can use a splitter but there’s no way to control the volume unless you have that before the splitter.

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 Max and welcome to the Cow Audio Forum.

On any number of occasions, I have counseled producers with whom I’m working that X or Y won’t work and can’t be fixed in post.

You say wildly varying indoor environments. Like what? Perhaps you should consider choosing environments that are not so challenging. Why try to fly in the face of physics? Rethinking your location choices will improve the potential quality of your productions.

Shooting an interview with four people. A bad idea with one camera in any case. Panning, focusing and reframing is not likely to result in an attractive video timeline. What will work better will be to break the interviews up into “two shots”, where two people may be interviewed. That’s something that most cameras can handle. But even then, care has to be taken so the person not responding to a question isn’t just hung out to dry until it’s their turn.

The TASCAM DR-60D has four inputs; two balanced and two unbalanced. You could shoot an interview with four inputs and or tracks with four mics and then spend a lot of time in post ducking the tracks of everyone who isn’t talking at the moment.

I just had these choices to consider last week. EIght people, three cameras – master shot and two angled cameras. We used two people on booms each one feeding one camera and each one covering four of the eight people. In your case, you could use a stationary boom on one-person interviews and manually operated boom on 2, 3 and 4 people.

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