[Ty Ford]

Hello Seth and welcome to the Cow Audio Forum.

Are you shooting in 24P? I seem to recall that 24P in that camera resulted in monitoring latency.

Regards,

Ty Ford

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[Ty Ford]

Hello Darren and welcome to the Cow Audio Forum.

Varying phone levels can be evened out to some degree using compressors in FCP or Soundtrack Pro. I find the Sound track pro interface to be confusing and very unintuitive. Your experience may be different.

There’s also the simple but effective gain change tool in FCP. Choose waveform display and the graphical automation adjustment mode. Then, using the pen tool, (not the standard pointer) click on either side of a section you want to change within those two dots, make two more and drag the audio up or down as needed.

I usually raise the entire volume a bit, reduce outburst that will be too loud and then follow it with a FCP compressor or limiter. Be sure to pay attention to the master output level. It’ll tell you if you need to raise or lower anything.

Reversing phone EQ is tough. Phone EQ is usually peaked at 3kHz with everything above and below rolled off. You can try adding frequencies below and above that, but if there isn’t anything there, at some point, all you’ll get is noise. Try it and see. Don’t expect one setting to improve all phone calls. To get the best results, you’ll have to tinker around a bit. Don’t go below 80 Hz and probably not above 10 kHz. The human voice frequencies are mostly between 100 Hz and 6 kHz.

Regards,

Ty Ford

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[Ty Ford]

Rodney, if you’re crazy, I’m crazy. You’re one of the brighter guys here at Cow and I really appreciate that you’re here.

You make an excellent observation. Technically, what you’re talking about is some sort of distortion that happens when a frequency range larger than expected is put through a system not designed to handle it.

It may be just the mic itself or something in the circuitry of the transmitter. I don’t think it’s happening in the receiver, but it’s not impossible.

I occasionally run into sub-harmonic problems with my wireless. We were going from one location to another at NASA/Greenbelt last month. I was fully rigged with mixer, two lavs and a boom, had my headphones on was listening to the wireless. While we stood waiting for the elevator, the meter on my Sound Devices 442 mixer started showing something and I was hearing the compander in one of the wireless get a little wacky. I took off my headphones and I could hear/feel this very low frequency resonance; the kind you get in some buildings. I’m not sure what the source was, but this sort of structure-born sound can play havoc with a wireless system.

I’ve even run into it outside. It isn’t usually constant, but something somewhere made a noise and the waves roll out from it. It the same thing when you’re sitting still on a boat and another boat goes by. Eventually their wake will pass under you.

If I had mics with a high-pass filter to scrape that stuff off, it wouldn’t have modulated the compander threshold.

Not all wireless are the same, Adam. What you may have found might be the Achilles Heel of the Sennheiser system. Maybe they didn’t design it to be used near a sound source like a piano. In trying to get the circuit right for voice, they might have ignored the possibility that the system would be used around a piano.

Or, (now for something completely different) I have heard that the ME2 lav that comes with the G2 wireless is not so good. People have said that trading up to a MKE2 made a noticeable improvement. They weren’t even talking about piano.

Rather than condemn the transmitter, I’d be interested to hear if the problem went away if you tried a different lav. The MKE2 is good. Other very good lavs are the Countryman B6, EMW and Sanken COS11. You can order the Countryman mics with the right plug to work on the Sennheiser. I suspect you can do the same with the Sanken.

There are a few hinky (two wire or three wire) wiring problem that do exist among mics and transmitters, but a knowledgeable shop should know about that.

I have EMW and B6 mics and I had them made with cables so that I could switch and use the mics with my wireless or connect them through an inline XLR power supply and use them hard wired. Sometimes hardwired is the easiest way to go.

Hope this helps and do let us know what you find.

Regards,

Ty Ford

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[Ty Ford]

Hello Andy and welcome to the Cow Audio Forum.

From their press release. Only you can tell if it’s a good thing for you. I’ve taken every PTLE upgrade so far. Haven’t done this one yet.

Regards,

Ty Ford

Digidesign Ships Pro Tools 8 Software
Provides everything needed to create, compose, score, record, mix, produce and broadcast in single application.

DALY CITYDigidesign®, a part of Avid Technology, Inc. (Nasdaq: AVID), today announced the immediate availability of Pro Tools 8 software, the company’s highly-anticipated, next-generation music creation and audio production software., Calif., (December 17, 2008) —

Available now through authorized Digidesign dealers as well as at http://www.digidesign.com, Pro Tools 8 is the latest version of the industry-leading digital audio workstation. A dramatically enhanced feature set is highlighted by a completely updated user interface, more than 70 bundled plug-ins and virtual instruments, fully-integrated MIDI and score editors and an expanded array of editing features for both music and post production applications.

“Customer excitement for this release of Pro Tools is at an all-time high,” stated Tex Schenkkan, Vice President and General Manager, Audio at Avid. “We believe that this is not only in response to the substantial changes and additions we’ve made to the product, but also because so much of what’s new came directly from customer feedback. We are grateful for their contributions, and are looking forward to hearing what they produce using all the powerful new capabilities included in Pro Tools 8.”

For composers and musicians, Pro Tools 8 provides powerful functionality for streamlining the creative process, and delivers the most versatile sonic palette ever available out-of-the-box for Pro Tools. New music creation features include:
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For music and post production professionals, Pro Tools 8 offers:
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Pro Tools|HD® 8 also enhances the extensive capabilities of Digidesign’s flagship Pro Tools|HD audio hardware, with support for the new Satellite Link option, which allows users to control up to five Pro Tools|HD systems as one. Additionally, the Avid® Media Composer® based Video Satellite option brings Avid HD/SD video playback into the Pro Tools|HD audio workflow, while the new Video Satellite LE option allows Pro Tools|HD editors to play QuickTime HD/SD video or Avid® SD video from a separate but synced Pro Tools LE system, thereby preserving track count and processing power on the host Pro Tools|HD system. Satellite Link, Video Satellite and Video Satellite LE will be available in December, 2008.

For project studio owners, Pro Tools LE 8 and Pro Tools M-Powered 8 support up to 48 simultaneous audio tracks out of the box. Adding the new Music Production Toolkit 2 or DV Toolkit™ 2 (Pro Tools LE only), gives users access to up to 64 audio tracks. And for serious Pro Tools LE users, the new Complete Production Toolkit (Pro Tools LE only) combines the content of both toolkits, and offers up to 128 simultaneous audio tracks and 7.1 surround mixing. All three toolkits are currently available through authorized Digidesign dealers as well as at http://www.digidesign.com.

Pricing and Compatibility
Pro Tools 8 software is available for Windows Vista- (32-bit Business or Ultimate with Service Pack 1), Windows XP- (Home and Professional with XP Service Pack 3), and Mac OS X 10.5.5 (Leopard)-based Pro Tools|HD, Pro Tools LE, and Pro Tools M-Powered systems. Customers who have purchased a new Pro Tools system or upgrade since October 3, 2008, are eligible for a free software upgrade. Customers purchasing new systems with old software are also be eligible for the free upgrade. Pro Tools 8 software is currently available through authorized Digidesign dealers as well as at http://www.digidesign.com.

Pro Tools HD 8 Upgrade: $249 US
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The Music Production Toolkit 2 and DV Toolkit 2 for Pro Tools LE systems are currently available through the authorized Digidesign dealers as well as at http://www.digidesign.com. Customers who have purchased a Music Production Toolkit or a DV Toolkit 2 since October 3, 2008 are eligible for a free upgrade to the newer versions. The Complete Production Toolkit is available today through authorized Digidesign dealers as well as at http://www.digidesign.com.

Music Production Toolkit 2: $395 US
DV Toolkit 2: $1295 US
Complete Production Toolkit: $1995 US

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[Ty Ford]

Adam,

Same problem; source (piano) too loud for the system. Odd though. How loud does he play the piano? Are there other instruments or monitors with piano or other source?

Regards,

Ty Ford

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[Ty Ford]

Hello Adam and welcome to the Cow Audio Forum.

I think you’re overmodulating the transmitter. This is a very common problem when changing levels from normal talking to singing. No adjustment after the transmitter will fix this problem, you have to turn down the input to the transmitter or get a less sensitive microphone. Of course, that’ll mean the talking sections are too quiet.

Yes, I imagine the baby grand is not helping. His lav is sitting right in front of it when he’s playing, right?
In most cases like this, people use one mic for interviews and another for performances. There are some high-end wireless that allow remote adjustment of the transmitters input sensitivity, but they are not cheap.

Regards,

Ty Ford

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[Ty Ford]

Hello Brian and welcome to the Cow Audio Forum.

The crickets are getting louder.

Regards,

Ty Ford

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[Ty Ford]

Thanks Frank, Jeff or Adil (Why do you have two names?) and welcome to the Cow Audio Forum.

This thread has wandered significantly from the concerns of the original poster. That was, how to record voiceover at home, not how to reduce reflection in a large space. Jeff/Adil, as a new member of the Cow, please remember to look at the original question.

Regards,

Ty Ford

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[Ty Ford]

Mon Dieu,

JC is right! the mp3 export costs an additional, um, $30?

If you’re on a Mac, you can also convert to MP3 with iTunes, but you have to name the files.

Regards,

Ty Ford

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[Ty Ford]

Hello Nicholas and welcome to the Cow Audio Forum,

If the files are named on the timeline, they will retain that name upon export.

I think you export as files, not regions, but I can’t check right now because the machine is doing a FCP render.

Not that I’m aware of. Which meters?

Regards,

Ty Ford

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