[Ty Ford]

Tony,

You you were able to open it?!

Regards,

Ty Ford

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[Ty Ford]

Hello Kaye and welcome to the Cow Audio Forum.

Terry. Peter and John are right. Once you get used to “rubber-banding”, that’s hand drawing mix automation with the mouse. Providing you can see the waveform, you get the hang of it pretty easily.

It’s a much better way to do level adjustment than ANYTHING Soundtrack Pro has to offer.

Regards,

Ty Ford

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[Ty Ford]

Hello Dan and welcome to the Cow Audio Forum.

I think that question would be better answered by someone on the Digidesign Users Conference.

3 x RAID 0 is writing the same file across three files with no redundancy. Maybe PTLE needs to see the files in one place. I have a Mac Pro with separate internal media drive. No problems with PTLE and a Digi 002 running ptle 7.4.

Regards,

Ty Ford

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[Ty Ford]

JIm,

Gotta say, for interiors, unless you have the space blanketed, a 416 is not a good choice over a cmc641.

The 416 is directional at high frequencies, but very non-directional at mids and lows. As such as the liveness of the spa e increases, you get more and more wall bounce.

That doesn’t happen with a cmc641.

Regards,

Ty Ford

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[Ty Ford]

Hello Jason and welcome to the Cow Audio Forum.

How are you defining a dipped mix? What’s dipped and what isn’t?

Regards,

Ty Ford

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[Ty Ford]

Sam,

Sorry, I’m going to speak against a wireless lav unless there’s a really good reason to go wireless. It’s more money, more complicated and doesn’t sound as good as a good hard wired lav.

Regards,

Ty Ford

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[Ty Ford]

Archie,

We’re all here to learn. Thanks for your contributions.

Regards,

Ty Ford

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[Ty Ford]

Bouke,

While I have no direct experience with the issue, I have heard that in some situations in which a recorder is connected to a camera for timecode, pre-record does create problems. I think the problem was “fixed” by setting the audio recorder in a different mode. I just don’t recall the specifics. The guy at the newsgroup rec.arts.movies.production.sound would know.

As to the start time, I’m guessing it has to do with whether you are using time of day code or not. In TOD, versus rec run or free run, you are locked to the clock in the recorder. rec run, in which the audio recorder is synced to the smpte output of the camera. Then, the audio recorder is taking the timecode from the camera. (I’m guessing maybe the pre-record may mess with that). Unless the camera can run at TOD, each file starts with 0:00:00.

Regards,

Ty Ford

PS: enjoy your vacation

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[Ty Ford]

Josh,

Go with the lav for the interiors. Forget the shotgun. A shotgun mic mounted on a a camera is absolutely the wrong mic and wrong application for shooting interior interviews. Shotguns are much more omni directional at mid and low frequencies. The wall and ceiling bounce will compromise your audio.

Which one?

Countryman EMW or B3
Sony ECM 77b
Sanken COS 11

Regards,

Ty Ford

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[Ty Ford]

Hello Josh and welcome to the Cow Audio Forum,

Your current financial constraints are pretty much guaranteeing you an unpleasant outcome. Unless you’re within two feet of the person you’re interviewing, your audio will disappoint you. And even then, on a noisy street corner, you’re going to hate yourself in the morning (when you get your clips loaded into the editing system and hear what you got.

So, the good news is that you can pretty much get any mic you want because the mic on the camera approach will make even good mics sound bad.

Regards,

Ty Ford

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