[Ty Ford]

David,

Here are a few effective thought provokers.

1. Video without audio is surveillance.
2. If Hollywood COULD do it cheaper, they would.
3. There are more Home Theater systems every day. If you’re cheaping out with your audio monitors, you won’t be able to hear problems that will be VERY apparent to them.
4. Good audio monitors last a lot longer (and remain valid) a lot longer than video monitors.
5. The essence of great audio is that it doesn’t draw any attention to itself. To do that, you need to pay a lot of attention in production and post production.

Regards,

Ty Ford

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[Ty Ford]

Hello Rob and welcome to the Cow Audio Forum.

By placing the antennae 15 feet, you are defeating the purpose of a diversity antenna system. If, in fact, the Shure is diversity. The antennae should be closer together. This will result in fewer RF reflections of the sort that can confuse the antenna system.

Secondly, I would move either the receiver or the antennae closer to the presenter and cable back from there. This will improve your odds of a solid signal.

Thirdly, you could also try directional shark fin receiving antennae to improve reception.

If the transmitting antennae are very flexible and flop over, try belt-mounting the transmitter so the antennae droop down, but straight. Make sure the receiver antennae are also vertical.

Regards,

Ty Ford

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[Ty Ford]

Chris,

Structure-borne noises from other places in the building, typically heavy machinery in the basement for HVAC or other things.

Regards,

Ty Ford

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[Ty Ford]

Hello Chris and welcome to the Cow Audio Forum.

With all due respect, you would be one of the few people on the planet that consider Samson wireless “trusty.” 🙂

Wireless is a wiggly thing. Your description of what each mic was doing makes me think there were at least two problems; one for each mic.

I’ve not experienced the problems you have with the Sennheiser, but having the transmitter on someone who’s wearing a wireless communicator, blackberry, etc, can PROFOUNDLY mess with a wireless mic transmitter. I like to hold the person’s gear at my station until they are finished speaking. That way I’m sure they won’t “turn it in to check for messages” during the event and hammer my wireless.

The compander issue (if that’s what it was) could have been caused by extreme low frequencies. I have had this in industrial and office buildings. The last time while waiting for an elevator inside a building at NASA, in the Maryland suburbs of DC.

The possibilities are many. Wireless mics use primary transmitting and receiving frequencies, but also have intermediate frequencies that can be interfered with. A spectrum analyzer could probably find the culprits. The compander issues are more likely related to the actual audio picked up by the mics.

Regards,

Ty Ford

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[Ty Ford]

Hello MIn,

If capsules are coincident to the sound source, phase problems due to capsule positioning are minimized.

The diaphragms of the h4 are not coincident. As such, sound sources from certain axes must create phase cancellation at certain frequencies. The laws of physics apply.

Regards,

Ty Ford

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[Ty Ford]

Uwe,

There’s crisp and then there’s burnt. In side by side comparisons, many people will prefer the brighter mic, simply because it’s brighter. Many people who have used dynamic mics and are just beginning to experience condenser mics are entranced by the extended HF response. This can get you into trouble, especially if you intend to use limiting and compression, each of which add edgy artifacts.

The TLM 103 is a pretty bright mic and with the wrong preamp, it can sound quite brittle. It is, however, very quiet. My GML preamps are a very good match for it. A Radius 30 tube preamp (hhb, I think) makes the TLM 103 sound very nice and an old Neve is also complementary, among others.

The TLM103 is a wide cardioid and the extended HF response will hear any imperfections in your acoustical environment quite plainly. The headgrilles are very transparent. This feature allows them to be used in stereo recording in situations where small diameter capsules are more frequently used.

Regards,

Ty Ford

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[Ty Ford]

Hello Chris and welcome to the Cow Audio Forum.

Sure: https://www.audio-technica.com/cms/wired_mics/9087c643d6d7530f/index.html

Regards,

Ty Ford

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[Ty Ford]

Hello Don and welcome to the Cow Audio Forum version of “How’d They Do That.”

That you can tell by your experiments that you’re not getting what you want is a GOOD thing.

Technically-good narration is normally done in a studio with a proper acoustics, using a variety of mics and a right that costs a lot more than your camcorder. I do narration for a living (such as it is) My mics cost a couple thousand dollars each, my preamps cost over $1k each, my DA converter…..well you get the idea.

A quick look at your camera indicates it doesn’t seem to have a separate mic or audio input. If that’s the case, you’re hosed.

Since you don’t need to read to picture, and for not much money, get a Zoom or Iriver recorder and try recording a walk-in closet.

Don’t under estimate your lack of performing talent. Professional narrators bring a lot more than a nice voice to a project. If you’re interested, reach out with specifics and I’ll send you a quote.

Regards,

Ty Ford

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[Ty Ford]

Hello David and welcome to the Cow Audio Forum,

I was in radio a long time and never saw Bower and Wilkens in any stations. They are pretty pricey. If there’s a radio station with them, they probably traded ads for them. Very exotic! Thse I know who own them like theirs.

Your budget and physical space will determine what you buy, At the top of my list right now are Event Opals at $3k a pair. I reviewed a pair here and found them stunning. They need some space due to their size but, wow!

Genelecs, Dynaudio, JBL, Myer, Adam and K&H are certainly contenders.

Regards,

Ty Ford

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[Ty Ford]

David,

If you’re considering a mixer, please look very hard at a Sound Devices 302. Much better all around than any beachtek

Regards,

Ty Ford

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