[Ty Ford]

Robert,

No, import both discard the empty one and center pan the good one, or get the Trew cable that puts one mic on both channels.

Regards,

Ty Ford

Want better production audio?: Ty Ford’s Audio Bootcamp Field Guide
Watch Ty play guitar

[Ty Ford]

Roberto,

Here’s the cable:
https://www.trewaudio.com/store/product.php?productid=147&cat=21&page=1

Trew put a blocking capacitor in to keep the camera’s DC power from getting into the mics. Some mics don’t like that voltage, some tolerate it.

Running unbalanced does make the system more vulnerable to noise due to lack of shielding and because the circuit is single ended, you also lose 6 dB of signal.

Regards,

Ty Ford

Want better production audio?: Ty Ford’s Audio Bootcamp Field Guide
Watch Ty play guitar

Some contents or functionalities here are not available due to your cookie preferences!

This happens because the functionality/content marked as “Google Youtube” uses cookies that you choosed to keep disabled. In order to view this content or use this functionality, please enable cookies: click here to open your cookie preferences.

[Ty Ford]

Hello Roberto,

I’m thinking mic level only. Maybe -10, but don’t count on it.
Regards,

Ty Ford

Want better production audio?: Ty Ford’s Audio Bootcamp Field Guide
Watch Ty play guitar

[Ty Ford]

Hi Jesse,

That’s pretty high praise. Have you compared all three systems? Please let us know the details of your comparison.

Regards,

Ty Ford

Want better production audio?: Ty Ford’s Audio Bootcamp Field Guide
Watch Ty play guitar

[Ty Ford]

Hello Benjamin and welcome to the Cow Audio Forum.

I have on several occasions played selections from iTunes during SKYPE sessions and the other party heard them just fine. I think SKYPE passes through anything the Mac System makes audible. IF GB isn’t audible (I’m thinking it should be if you’re hearing it on the Mac’s speakers), try checking it’s output and moving it to System Out.

Regards,

Ty Ford

Want better production audio?: Ty Ford’s Audio Bootcamp Field Guide
Watch Ty play guitar

[Ty Ford]

Hello Gary,

I use a Sound Devices 744T. https://www.sounddevices.com/products/744t.htm

Most recently I used it to shoot this little piece because I was running camera and had four mics; two guitar amps and two mics.

https://www.vimeo.com/5023939

I used a Sound Devices 442 mixer. Came out of its direct outs and into the 744T. It records poly wave files so I dragged one icon off of its HD into FCP and FCP created four tracks automatically.

Regards,

Ty Ford

Want better production audio?: Ty Ford’s Audio Bootcamp Field Guide
Watch Ty play guitar

Some contents or functionalities here are not available due to your cookie preferences!

This happens because the functionality/content marked as “Vimeo framework” uses cookies that you choosed to keep disabled. In order to view this content or use this functionality, please enable cookies: click here to open your cookie preferences.

[Ty Ford]

Hello David,

I set my limiter at +16. I’m not sure what the factory default it, it may be OFF.

I try keeping peaks so they occasionally light the red LEDs, I think that may be +16. Dunno right off.

I have had some camera ops get spooked by that. I have also had a few cameras that seem to have more sensitive peak meters. When you set -20, make sure you adjust the camera controls so the camera meters are just at -20. There’d a bit more you can turn before the display goes to -18. Stay just in.

Regards,

Ty Ford

Want better production audio?: Ty Ford’s Audio Bootcamp Field Guide
Watch Ty play guitar

[Ty Ford]

[Craig Thomas Quinlan] “>I got the project on a hard drive.

I know. What I’m asking is whether the files from your HD originated on tape, like hdcam-sr or digibeta, or are they tapeless media, like xdcam or p2. This makes a huge difference because you can recapture tape by TC if needed. If the original tapes still exist somewhere, this is a form of backup.

>>Right. No source tapes, etc. I have the only copy on one drive.

>I have copied the original files to another hard drive as backup. I don’t know what you mean by nonrecoverable. I tried running the session from that drive and found pointing the project file to the new location was a problem. There are about 600GB of files.

By nonrecoverable, I mean both your FCP project files, as well as anything without timecode. This means photoshop docs, images, music, sound effects, etc. If it doesn’t have timecode, it needs backing up. Also, don’t just point your project file to a new drive, this isn’t the right backup strategy – you want multiple versions of the exact same project file in its exact same state – a carbon copy – so that if one dies, you can use the other.

>>Right. How do I do that?

>”Version” as a verb is unclear to me. Save a version of what?

By “version”, I mean the process of time-and-date stamping of your project files in its various iterations – so let’s say you start on your FCP project at 10AM and you work for 2 hours. At the end of this time, do a File->Save As… and append the new date and time to the project file. What this does is it both saves another copy of the project file and gives you solid saved copies of the various stages of the editing process. So let’s say at 12pm you save a version, and continue working but realize you accidentally deleted an important sequence – you simply open up the prior version of the project file, copy the sequence and paste it into the new project. Versioning is standard operating procedure for editing, and is crucial as a backup strategy.

>>That’s just the one main project file, right?

So if you’re backing up your project files to three redundant locations, as well as media if it’s tapeless, and properly versioning your project files regularly, you’re able to lose a lot of components and still be able to be back up and running shortly.
“

Yes. It’s the backing up of all the media so I can access it properly. I have copied all the files to the new drive, but when I started the main project file, it couldn’t find the copies because they were not where it expected them to be. If I copy the project file to the new HD, will it know where they are? If not, how do I do that?

Thanks,

Ty Ford

Want better production audio?: Ty Ford’s Audio Bootcamp Field Guide
Watch Ty play guitar

[Ty Ford]

[Craig Thomas Quinlan] “Did this originate on tape? If so, it has timecode and if need be, it can be recaptured. If this is tapeless media, and you can’t afford a solid backup solution like LTO tape, you may want to copy this to a few drives and keep them all in different locations.

>I got the project on a hard drive.

Most importantly, keep copies of your versioned project files, as well as any nonrecoverable media elements in at least three different places. Everything without timecode needs to be in redundant locations.

>I have copied the original files to another hard drive as backup. I don’t know what you mean by nonrecoverable. I tried running the session from that drive and found pointing the project file to the new location was a problem. There are about 600GB of files.

Version every couple of hours to two places, like an internal sata and a usb flash drive, or a cd. At the end of the day, back up all the nonrecoverable items again and also to a third place, and bring that home, or somewhere else, so that the whole building could go up in flames and you could start recapturing or reconnecting and be back up, same day. Then again, I’m the paranoid type when it comes to these things.”

“Version” as a verb is unclear to me. Save a version of what?

Thanks,

Ty Ford

Want better production audio?: Ty Ford’s Audio Bootcamp Field Guide
Watch Ty play guitar

[Ty Ford]

Robin,

What is the production company attempting to see the files with?

Regards,

Ty Ford

Want better production audio?: Ty Ford’s Audio Bootcamp Field Guide
Watch Ty play guitar