[Ty Ford]

Hello Greg,

I know of no conversion process. You can export complete tracks as wav or aiff files from AA and import as wav or aiff files to PT or PTLE.

Regards,

Ty Ford

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[Ty Ford]

Hello Nelson and welcome to the Cow Audio Forum

DIfferent phone systems sometimes use different file formats. Are you sure it’s an 8 kHz .wav file?

Regards,

Ty Ford

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[Ty Ford]

Steve,

OK. Audio over firewire is possible by a lot of apps, if you’re thinking about a piece of software and a hardware audio interface. I only have direct experience with ProToolsLE.

Perhaps someone else can toss in here or resort to some googling.

Regards,

Ty

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[Ty Ford]

Hello Steve and welcome to the Cow Audio Forum.

ProTools LE, among others, does.

Regards,

Ty Ford

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[Ty Ford]

1. If you have headphones like the Sony MDR7506 that cover the ear and are closed back, you’ll be fine.
I’ve done it. If you saw the video I shot for my book, there I am, talking to the camera with an E6 and MDR7506 on.

2. Lots of things can happen. Best practices says always listen. That’s really the only way you know. In almost every case in which someone comes to a forum with a “what do I do now” question about audio that went wrong, they were not listening while shooting.

If you must be a one person band, your only “safety” is to listen to and watch the shot during playback to make sure you got it.

Regards,

Ty Ford

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[Ty Ford]

Hello Brian,

Why do you want coiled mic cable?

Regards,

Ty Ford

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[Ty Ford]

Hello again Kat.

Confirming. You are shooting yourself?

If so, in general, no, no problem, but by moving away from your intended speaking position, you move away from knowing what the mic will actually capture when you do shoot. You can do this to check levels, but problems remain.

The #1 rule of audio for video is ALWAYS LISTEN. I repeat, ALWAYS LISTEN.

Once you set levels and take the headphones off, you have no way of knowing what anything sounds like. BTW, how will you know if you are in frame?

Regards,

Ty Ford

PS: Did I mention you should ALWAYS LISTEN?

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[Ty Ford]

Hello Kat and welcome to the Cow Audio Forum.

‘Generally” is a pretty big spectrum. I could write a book about it. Since I’ve already written a book about production audio maybe I should do one on postproduction audio.

A B6 to a camera is OK, but a lot depends on the person speaking, how the mic was mounted, and where it was shot.

The general idea is to clean up the sound, make any EQ changes to improve intelligibility, compress or limit to increase the loudness and make sure you didn’t overdo it.

There’s a world of post production audio. Not all the tools are required for each job, but an experienced post person can really make a soundtrack pop.

Regards,

Ty Ford

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[Ty Ford]

I don’t know. Try both and make a contribution to our knowledge.

Regards,

Ty Ford

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[Ty Ford]

Not trying to be difficult (really!), but my mics mostly have rolloffs and the camera has assignable limiters on each channel.

>> What camera? Pretty much all AGC circuits on any camera I’ve seen are pretty brutal.

What I’m trying to find is a field mixer that can be used simply to ride the gains for each of 4 channels going into the camera. I’ve searched through the regular players, and haven’t found this ability.

Is this an oddball request? I’m certainly not an “audio person”, so perhaps I’m missing something?

>> Yes it is an oddball request. Typically you go with the mono, stereo or split track mix from the mixer and use the direct outs as backup, porting direct outputs to a stand alone recorder for possible use later. You don’t need to do a lot of level changing with the coarse adjustments unless they go from very quiet to WAY OVER THE TOP. You’re paying attention to the mono, stereo or split track mix. It is very difficult to do a good stereo mix AND adjust levels to direct outs.

With your standalone recorder and direct outs, If talent three screws up a line (and you’re lucky enough not to have it bleed into the other three mics) you can replace it during an ADR session. That’s the benefit.

Otherwise you mix the four tracks to mono, stereo or split track as the action is taking place. . and do a stereo mix, hoping you’ll get it all done there.

Since the 442 (and other mixers) have coarse input adjustments, you could use them to mix to the direct outs, but that’s not a typical workflow and the coarse controls are not as easy to tweek as the fader knobs.

I’m sure there are mixers that offer four discreet outputs and faders, but I don’t know of any high grade portable ones. You’re not really mixing then. Your chasing levels to four discreet tracks. How do you monitor those four tracks to get any semblance of a stereo, mono or split track mix?

Regards,

Ty Ford

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