[Ty Ford]

Hello David,

Please drop back in and let us know how that works for you.

Regards,

Ty Ford
Cow Audio Forum Leader

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[Ty Ford]

Hello David and welcome to the Cow Audio Forum.

When I first got PluralEyes, I tested it by rolling my Canon XL2 and an inexpensive Olympus while I played audio from my system in the studio. So, identical audio but recorded by two separate mics in the same environment. I even walked around with the Olympus during recording.

I had to use the “try harder” mode but it worked. This was the original release of PluralEyes. I think things have actually improved since then. I couldn’t use both audio tracks due to phase cancellation, but they were synced.

I also did an “exact same audio” test and both tracks did sync with no cancellation.

YMMV,

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.

I just did a shoot with a Red One.

The most important question is what build number is the Red. Earlier models had all sorts of audio and video issues. I don’t know which build this was, but something recent.

The camera is very loud in standby. When you hit record, the fans turn off and it’s a lot quieter.

We did a simple check, recording and playing back on the set and it was OK.

I ran double record but they chose to use the camera audio, which did sound OK in the phones during playback. YMMV.

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]

Hmm, let’ see….

Don’t put your main monitors on a wall.

make or keep the side walls symmetrically irregular, never parallel.

Have enough room behind the fader line for the sound waves to develop, maybe 8-10 feet.

If you can put a mirror on a side wall and see your main monitors int the reflection from the sweet spot, you’ll have to treat that wall to prevent late reflections from messing up you mix.

Don’t put monitors on the console meter bridge, some of the sound will bounce down through all of the pots and knobs and back up to your ears and mess with the sounds coming directly from your monitors. Mount the monitors higher and further back from the meter bridge instead.

etc.

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 Neil and welcome to the Cow Audio Forum.

In addition to the advice given to date, here are a few additional thoughts.

In the “old days”, surround mixing systems used satellite speakers for the dialogue, side and rear speakers. They didn’t have to be as good as the L/R because most consumers home systems were not that spectacular.

As home theater systems evolved, the trend to having speakers equal to the front L/R speakers have required studios to up their game as well.

About composers and mixing. There are thousands of composers who submit their mixes in stereo. Film productions seldom do anything severe with the music that require surround mixing. If they do, then tracks or submixes can be used.

Composers may or may not use a sub. More has to do with the individual setup and how capable their main L/R are in reproducing the lows. The Klein and Hummel 0110 are great small monitors but they require a sub, the K&H 0300 have a pretty solid low end and don’t in most cases. I don’t know about the yamaha speakers mentioned. I haven’t seen much about them and haven’t heard them. Genelec has an excellent reputation and I like the Event Opals. I use legacy JBL L100 on one of my workstations.

To be sure, composers working on techno and some dance music absolutely require subs because their music is reproduced in clubs with “big bottom” systems.

Do you have the right space in which to deploy surround monitors? That’s a big question. If the architecture is not conducive, your results will be limited.

Regards,

Ty

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[Ty Ford]

Hello Linda and welcome to the Cow Audio Forum.

I’m not sure how you’re deciding that cell phones are not the problem, but smart phones can drop the effective distance of wireless mics to a foot or less. Been there. Done that.

I have, on several occasions, passed a basket around to collect everyone’s cell phone so they won’t be tempted to fire up and screw up the audio.

Cell phones can be sort of off and still cause problems. They need to be DEAD OFF.

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 Rob and welcome to the Cow Audio Forum.

I just speced a Neumann TLM 103 and a Centrance Mic Port Pro for a client who want to do at home voice work. He’s running Adobe Audition. His tracks are clean and very quiet.

Mr. Kessler’s suggestion that a quiet and well tuned space are required is spot on.

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]

Hahahaah!

Well, “Yea verily”, which I thought I took from Shakespeare, indicates agreement.

The Clint Eastwood quote was used as a cautionary comment. You can try something foolhardy, but how lucky to you think you are.

Two countries divided by one language…and Bob’s your uncle.

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]

“The question is
Do you equippe correctly for the job, or force the job into your existing equipment.
This is probably a key difference between a non Pro and a Pro.”

Yea verily, or as Clint Eastwood might put it, “Do ya feel lucky punk? Well do ya?”

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]

Michael,

OK three mics. Also consider trying an auto mixer. A used Shure FP410.
https://www.ebay.com/sch/i.html?_nkw=shure+fp410

All three mics go to one track and it does take some ability to get that right as well as having someone ride the mix a bit, but the real advantage is it will turn down mics not being spoken into and open tham very quickly.

On The Today Show, the sets have very high ceilings and the use music to cover up some of the noise of the set and eat up some of the reflections, but mostly The Today Show is a big time operation and their space is very well designed AND they have someone riding gain actively during the show. They aren’t doing anything in post. That tells you it can be done.

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