[Ty Ford]

um, make that bigger.

🙂

Ty

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[Ty Ford]

Thanks Blake. I think you’re the only one who’s commented on my remark.

The Sony MDR 7506 are industry standard at $99.

They are tipped up at the top and bottom EQ-wise, but I actually find that helps me hear wind noise and other problems better.

They fit on not over the ears and are durable and compact when folded up.

The ATH-m50 are bugger fit over the ear (unless you have big ears) and have a flatter EQ.

If you need more isolation,
https://www.bhphotovideo.com/c/product/283347-REG/Remote_Audio_HN7506_HN_7506_High_Noise_Isolating.html

Regards,

Ty Ford

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[Ty Ford]

Hello Blake and welcome to the Cow Audio Forum.

Sony MDR 7506 or Audio Technica ATH M50 are good closed back headphones. I use both.

Regards,

Ty Ford

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[Ty Ford]

Hello Phillip,

Hard to say without hearing. If the talent is too far away then reflected sound in your space causes diffusion (smearing) of his otherwise direct voice. If that’s the case, no amount of EQ or processing will improve the track.

Time go reach for the reshoot filter.

Regards,

Ty Ford

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[Ty Ford]

Hello Robert and welcome to the Cow Audio Forum.

Most folks I’ve talked to say the difference is negligible.

If you are branded to Sennheiser, also check out their MKH 60.

If you’re not, check the Schoeps CMIT

Regards,

Ty Ford

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[Ty Ford]

Hi Allen,

Wireless from the board to your camera. Sure that’s possible. Here are thoughts:

1. You do need to make sure you have the mic or line setting correct at the transmitter. I’m pretty sure you know that, but other who read this might not. Audio mixers have many output holes to connect to other things. I have been at shoots where I was told “It’s a line output.” and it wasn’t, or somewhere in the gains structure of the console the level of the signal was somewhere between the two.

2. Some outputs change when the board op moves a fader. That’s bad because when that happens your levels also change. You want Pre Fader Outs that don’t change. Some low level mixers don’t have this capability.

3. A board feed, by itself, with no room mics, will sound incomplete. That’s because drums and amps create sound that’s heard by the audience in addition to the mix created by the board op that you hear through the PA.

4. Some on camera mics can not be attenuated low enough to prevent overloading at the camera. This is a side thought, but one way to “fix” the incomplete board feed is by adding time-corrected camera mic audio. “Time-corrected” because the sound moves at 1 millisecond/foot. The camera audio will be behind the board audio by however many feet (seconds) the camera is from the PA. Unless you resolve this timing issue, when you add the two, there will be phase cancellation that will make the mix sound pretty weird.

When you see live performances on DVD, the “professional ones” are the result of recording all band channels plus a number of room mics. That multitrack recording is then mixed and delivered as a stereo or 5.1 master that’s mated with the edited video. There’s a LOT going on.

Regards,

Ty Ford

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[Ty Ford]

Hi Brian, et al

Most manufacturers have plug on transmitters designed to be plugged into mics. You’d have to be sure to have a non-changing mic level feed, or a line to mic level pad.

I would use short cables to get the transmitters away from the console and possibly up in the air so the space between the transmitter and receiver is unobstructed.

Regards,

Ty Ford

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[Ty Ford]

Actually, Alan meant 90 degree crossings are good. Running power and audio lines in parallel will get you in trouble. Right Alan?

Regards,

Ty Ford

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[Ty Ford]

Hello Phillip and welcome to the Cow Audio Forum.

Hard to say what could be done. “Empty” is an unusual word. Can you post some of it so we might hear it?

Regards,

Ty Ford

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[Ty Ford]

Mike,

Just switching from mic to line doesn’t work. You need to recalibrate by adjusting the camera audio inputswhen you switch from one to the other. That may be part of your problem.

Regards,

Ty Ford

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