[Ty Ford]

Hello Kelley and welcome to the Cow Audio Forum.

The Sennheiser G2 or AudioTechnica 1800 are as low as you want to go.

LectroSonics, Zaxcom and Audio Ltd. as you go up.

Why use wireless? You have better odds of not being interfered with if you use a cable.

Regards,

Ty Ford

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[Ty Ford]

Hello Dave,

Someone at the Apple store probably knows more about OS X than me. At least I hope so.

Regards,

Ty Ford

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[Ty Ford]

Hello David and welcome to the Cow Audio Forum,

I never had much luck with the original iMic. Low level noise was the problem. They have changed it over the years and I’m not sure if the problem has been corrected. When I spoke to them about it, they said they were surprised that a pro was trying to use the iMic.

Could be just that. Could be the cable between the mic and the iMic has the right looking, but wrong mechanical connection for the iMic input.

I like the Centrance MicPort Pro for getting an XLR mic into a system via USB. https://centrance.com/products/mp/

Regards,

Ty Ford

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[Ty Ford]

David,

I apologize. There was something about my answer that bothered me and I’ve just been too involved with other things til this morning. I mis-read your question.

Unfortunately, the wireless mic mfgrs have never really sat down and talked about establishing standards. I’m not banging them on that, but it makes swapping mics on different wireless impossible with a few exceptions. Even within a single company the wireless mic wiring may differ.

If you haven’t found a solution yet, try reaching out to Eric Toline, a friend of mine in Florida. He has G2 Sonys and has a lot of experience with the wiring. audioetc@bellsouth.net

Regards,

Ty Ford

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[Ty Ford]

Hello Dave and welcome to the Cow Audio Forum

In a 3-wire mic, ground is pretty much pin 1. The polarity of the mic may shift relative to other lavs if you have the pin 2, pin 3 connection reversed, but you won’t hurt anything.

If they are reversed and you get that one and another near each other, there will be some cancellation, but there would be even if their polarities were the same.

Regards,

Ty Ford

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[Ty Ford]

-A guy gets his arm chopped off with a butcher knife in one swing a little above the wrist.

That’s the old “hatchet into a rack of ribs trick layered with crushing a chicken ribcage after you’ve cooked the bird and removed the flesh” trick.

-A girl cracks her skull open on a tile floor.

That’s the old melon drop layered with a maul cracking open a melon, and layer in more crackle by cracking an egg into a frying pan then mic the crushing of the shell with your hand. Either time stretch or pitch it down.

Regards,

Ty Ford

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[Ty Ford]

Jeff,

Thanks for your thoughtful and generous reply. We all learned something from it.

One other non-ADR plan that may help people is in situation where you have multiple takes and there’s a problem with the “keeper” take.

Vocalign software, either stand alone or plugin can make a “keeper” out of a bad take. If the problem is just a small section of the “keeper”, you may be able to use a portion of the audio from another take. Vocalign will analyze the “keeper” and apply time compression and expansion to the target take to make it match the timing of the “keeper.” It works scarily well a lot of the time, but there are limitations.

I interviewed an LA post house (Doc Kane, I think) and he said Vocalign reduced their ADR by about 70%.

Regards,

Ty Ford

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[Ty Ford]

Nice one John!

Ty

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[Ty Ford]

Hi Brad,

Sorry, I have never had any success in trying to do what you’re trying to do. The only times I have read about any success is if the voice is recorded in a totally dead room. I have not heard the results, but I did read the comment.

Regards,

Ty Ford

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[Ty Ford]

Hello Brad and welcome to the Cow Audio Forum,

A forum is a tough place to communicate what knobs to turn when you want to get from point A to point B and without hearing what you have.

From what you say, I’d start by finding which low frequencies to reduce on the ADR track. Adding various kinds of delay or early reflections (not reverb) might get you closer to simulating the room sound.

If this is important, I suggest you find a good audio person who knows the ropes and can dial in something that sounds right.

How may minutes of problem audio do you have?

Regards,

Ty Ford

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