Ty Ford
51
Audio Coins
54
COW Coins
Forum Replies Created
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Rich,
You did good. I once had a shooter tell me my level to his camera (peaks at -6 to -10) was waaaay too hot and that “because this was digital” they should be no higher than -20. Peaks at -20!!! I told him I’d set them there but that he would be seriously under recording. He later told me that the earlier part of the recording was distorted. I sent him a copy of my book and suggested that he listen back to the scene in his camera. (I think he was using an analog audio interface and running line level into mic level inputs.)
So you can find people in power all the time who don’t know what’s going on and try solutions that may have worked once somewhere, but not in the situation you are in.
You the the right thing.
Regards,
Ty Ford
Cow Audio Forum Leader
Want better production audio?: Ty Ford’s Audio Bootcamp Field Guide
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Steve,
I think you have to be recording to see meters, don’t know about hearing audio. Audition was a kluge of two different softwares some years back. Not all integration was elegant.
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 -
Hello Steve and welcome to the Cow Audio Forum.
Ha! I had the same problem. Maybe it was my question over there that you ran into.
You need to click on the R and the I boxes. R for record, I for Input Monitoring.Regards,
Ty Ford
Cow Audio Forum Leader
Want better production audio?: Ty Ford’s Audio Bootcamp Field Guide
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Brian, (and Rich)
The idea with SD mixers is not to hit the limiters in the first place, but only to use them for unavoidable emergency overages.
Rich, were you banging the limiters?
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 -
Rich,
2″ Studers rock!
Here’s the deal. You gotta pay it forward now and help somebody else. (You probably already have)
Well, you don’t have to, but that’s how I ride. 🙂Thanks for stopping by and hang here any time.
Regards,
Ty Ford
Cow Audio Forum Leader
Want better production audio?: Ty Ford’s Audio Bootcamp Field Guide
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“So lowering the gain on the coarse setting thus causing a need to raise the pot will not eliminate random low noises in the room?”
You are CORRECT SIR! (an Ed McMahon reference)
Please advise the person who told you this to turn in their headphones immediately!
“Could the original higher gain setting have added tones that warmed up the sound that old not be present by potting up to get the same level out of the mic?”
Not on this planet with a 552. You were being given bad audio info.
Regards,
Ty Ford
Cow Audio Forum LeaderPS: If the person in question is in authority, smile and say “Thanks, I really appreciate your help.”
Want better production audio?: Ty Ford’s Audio Bootcamp Field Guide
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Hello Rich and welcome to the Cow Audio Forum.
“Background Noise” is bad, but to which background was he referring? You are correct that gain is gain.
Each gain stage, trim pot and mic fader, has a center point of operation at which you get the best performance. When you exceed that level, the normal consequence is increased noise.So having one of the two controls turned WAY UP may bring up system noise, which can loosely be construed as background noise – normally hiss.
” I had always considered variable gain as sort of a rough level control and the pot or fader as a fine level control.”
You are entirely correct!
“What I inferred from this is that the gain will also make a mic more sensitive to lower noises, which seems a bit illogical, but may be the case.”
You are also correct. This is illogical and does not occur on this planet, e.g. if you’re getting a feed from the house that’s noisy, turning down the pot to reduce the house noise and expecting it to remain lower while you raise the fader is silly. The damage has been done and you can not unbake that cake.
The general rule of thumb is to do the heavy lifting with the pot but stopping before it llghts the peak or limiter lights so that the fader (at least for the 552, 442, 302) normally rests at 12 o’clock; allowing you to easily turn the fader up and down (within its preferred range) as needed.
Regards,
Ty Ford
Want better production audio?: Ty Ford’s Audio Bootcamp Field Guide
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Hello Max,
What you’re experiencing is normal. You can reduce some of this in production with an automixer that automatically turns down mics that aren’t being spoken into. Audio Technica and Shure both make models.
If not that, then you do it in post by reducing the gain on the mic not being spoken into using the editing software. You have to do this each time the talk goes from one person to another. It’s takes a little time but after you get used to the hand motions, you can fly right through a production.
If your software has gates for each track, they might be able to do the job, depending on how loud the offending voice is.
Regards,
Ty Ford
Cow Audio Forum Leader
Want better production audio?: Ty Ford’s Audio Bootcamp Field Guide
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Hello Ben,
Yes, for broadcast.
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 -
Hmm, interesting. Can you try your rig on another Mac? If the same thing occurs, the problem is not your Mac. Please let us know what happens so we can “have it on the books.”
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