[Ty Ford]

Hello Greg and welcome to the Cow Audio Forum.

Audio-Technica now has Blue Tooth versions of their ATH-m series. This would be a good choice:
https://www.audio-technica.com/m50xbt/index.html

As far as I know, Blue Tooth always data compresses audio, so there will be some loss. Whether it will bother you, I don’t know. There’s also some inherent latency with Blue Tooth, so if you’re listening to monitors and Blue Tooth headphones at the same time, the sound from any Blue Tooth source will be hitting your ears a little later. That’ll sound weird.

Don’t get any with ANC in the model number. That stands for Active Noise Cancellation.

Headphones with Active Noise Cancellation are NOT good for any kind of production work.

Headphones with passive noise cancelling are OK. They simply block the noise physically.

David Clark makes both kinds. https://www.davidclarkcompany.com/aviation/fixed-wing-passive.php

What you mix on for a final depends on your listeners. If your listeners will ONLY be listening on ear buds or headphones, then you can arguably just use headphones. If both then you need to use both headphones and monitors. Big monitors can be a problem because most people don’t have big monitors. Again, you need to ascertain the expected listening experience. I have a set of Radio Shack Minimus 7 small monitors to check the mixes on my Event Opals.

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 Mark and welcome to the Cow Audio Forum.

Bruce and Richard have given you chapter and verse on how to get the best audio.

I will only add that I would get them up there singing during rehearsal and while listening on good headphones like the Sony MDR7506 or Audio-Technica ATH-M50 (or later), move the mics until you hear something you like. If they are three deep, even if they’re all flat on the floor, I’d go higher with the mics and aim them down a bit.

If they are being conducted, try behind and above the head of the conductor, because he/she will be directing them to sing until they hit his/her happy spot. I did have a problem in a church once because the conductor was on a squeaky floor board. Every time he moved a certain way, you could hear the floor squeak. The mics above and behind his head picked the squeaks up very nicely. ☺

Be aware of tempo. Slower tunes will allow you to pull the mics a bit farther away and allow the (hopefully) good room ring richen things. Faster tunes may sound sloppy with that position and will require you to move mis closer to hear less room. I usually sweeten in post with reverb, so I’m good with not hearing quite so much room during recording. I use two reverbs, one set for early reflections and one for late. I blend the returns to get whatever my brain thinks is right.

Regards,

Ty Ford
Cow Audio Forum Leader

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

“And as we all know, the optimum placement for a microphone is hardly ever the optimum placement for a camera. Yet people persist in placing mics on top of cameras, and end up with sound like this.”

Bruce Watson – 9/16/19

This should be on a plaque somewhere.

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 Xavier and welcome to the Cow Audio Forum,

Thanks so much for posting a sample. What you have here is audio that was recorded with the talent too far away from the microphone. The result is this “roomy” sound. It may have also been data compressed, but your main culprit is bad acoustics.

iZotope has a de-reverb plug in that MAY help. SPL makes DeVerb which may also help some. I have yet to hear either make audio sound proper.

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 Jeff and welcome to the Cow Audio Forum.

I’m a Mac guy and having heard stories about problems with software that runs great on Mac, but awkward and poorly on PC, I can’t, in good heart, make any recommendations because it’s how the software and firmware work with the hardware.

I’m using Pro Tools 11 with a Digi 003R with eight inputs coming in optically via an RME ADI-8 DS on one mac and a Sound Devices Mix PreD coming into my other Mac via usb to Apple Logic Pro.

Let’s see who jumps in…..you might also try GearSlutz.

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 Craig and welcome to the Cow Audio Forum.

It sounds like a sample rate issue, although from what you say, it’s hard to figure.

If the sample rate for the session is set to 44.1 kHz on the software but the hardware is set to 48 kHz, or vice versa, you will get occasional ticks as the sample rates fight.

Make any sense?

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]

Nicolette,

That’s a great list! If you learn to manage (much less remember) all of THAT, you’ll do fine in the work place.

No need to worry about getting me more info.

Cheers,

Ty

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

[Ty Ford]

Hi Nicolette,

Yes, it would be interesting to hear how the school is geared up and what sort of classes they’re making available.

the hours….yeah, but soak it up. Soak everything up, including the audio. If you truly have a passion for it, the time just flies by.

I began working on a 10-12 show radio series recently. I’d never really done Foley before, but understood the how and why. I’ve done multitrack music in the studio and live sound, radio and TV spot production, sound for video and film.

I also shoot and edit. Some years back I was asked to produce a short. To my great joy and surprise, it won several short film awards. You never know where the net breeze will blow you. If you have a lot of different skills, you’ll never be out of work.

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]

Hey Warre. Welcome to the Cow Audio Forum,

I have Logic Pro X and Pro Tools 11. I have not tried to do a surround mix.

Here are some possible places to find your answers.

https://www.soundonsound.com/techniques/logic-getting-started-surround-sound

https://logic-users-group.com/threads/is-it-possible-to-mix-in-5-1-without-a-5-1-setup.9801/

https://support.apple.com/kb/PH24627?viewlocale=en_US&locale=en_US

https://www.youtube.com/watch?v=s3K2EaPuoEQ

Stop back and let us know what you find.

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

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[Ty Ford]

Great. Are they teaching everything about audio, studio, editing, music, VO, mixing mastering, live sound or just film production? What software platforms and software?

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