[Ty Ford]

Hello Rick and welcome to the Cow Audio Forum.

Here’s some general information that’ll help you start your journey.

IMWNP: Audio Ltd. 2040 at about $5K per set. Best distance I’ve measured. The best sound I’ve heard.

Industry Standards:
Lectrosonics: about $2500 to $3k per set.
Zaxcom: about $2500 to $3k per set.
Sennheiser makes a line of wireless from $500 to about $3K.
Sony makes analog wireless but has a digital wireless system due out this year. I forget the projected price, but over $3K. Jury still out.

Audio-Technica makes a line from $500 to about $3k.
MIcron: I don’t have a lot of info on Micron.

Depending on your setup, you may benefit from antenna distribution systems and directional antennae.

Anything below $500, you don’t want to look at.

Regards,

Ty Ford

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[Ty Ford]

Hello Jeff and welcome to the Cow Audio Forum,

Based on what’s in your manual — Providing it’s correct,
Audio output level (balanced) XLR: +18 dBu max
Audio output level (unbalanced) Jack: +12 dBu max

It looks like the 1/4″ jack is unbalanced. I’d go with the balanced XLR output to your 003 line level input.
So you need a female XLR to Male 1/4″ TRS cable.

Regards,

Ty Ford

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[Ty Ford]

Something like this, Ryan.

https://www.holophone.com/products_n-code.html

I saw it at NAB. I’m not certain it’s usable with just any mics, or sources. You’d want to follow up on that.

Regards,

Ty Ford

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[Ty Ford]

Thanks Will,

Hi Pat. While Will is right about dialog in mono, that shouldn’t stop you from recording dialog with one mic to both tracks of the camera (assuming you’re not shooting film. You can also record two different people, each to their own track with different mics.

In that situation, when you get to post, you reduce or eliminate the audio from track 1 when the actor on track 2 is talking and vice versa. If you don’t you will hear the actor on track 2 directly and also at a distance on track 1.

Regards,

Ty Ford

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[Ty Ford]

[Ryan Krickow] “That brings up my next question, will an LTRT mix playback as stereo if the sound system doesn’t support surround?

>>> It should

Would that make it redundant to have say an LTRT mix on channels 1&2 and a backup Stereo mix on channels 3&4 of an HDCAM tape?

>>> I’m not certain.

Also, do you have to pay Dolby to create an LTRT mix and what is the price difference between that and 5.1?

>>>You buy an encoder for that.

I apologize for the simplicity of my questions but I’m trying to wrap my head around the broad strokes so I know where to focus my research. Thanks again!”

>>>You’re on the fringe of my experience at the moment. 🙂

Regards,

Ty Ford

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[Ty Ford]

Hello Pattie,

Gotcha. You need to practice editing out clicks and pops instead of using filters. You can do it a lot more quickly and without messing up the audio. Audition has that capability.

If you have serious problems all through a piece, then maybe a filter. But you should get much better results by editing out the offending parts while seeing their wave form.

Regards,

Ty Ford

PS: Thanks for the push on the book.

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[Ty Ford]

Hi Pattie,

“A pop/click filter” I’m not sure what that is. I know what a pop filter is, but it doesn’t stop clicks.
Glottal opens and closures are unusual. Could be the person has been talking like that all thier lives.

Yes, the more you hear, the more thre is to hear. 🙂

Regards,

Ty Ford

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[Ty Ford]

Ryan Krickow]said>>”Would anyone mind letting me know the typical route that is taken for recording audio and delivering it to the editor? What I understand is that most often the audio is recorded to a tape format (ie. DA88, DAT, Nagra) then digitized for input into the NLE.

>>>>>Hello Ryan and welcome to the Cow Audio Forum. Tape has been replaced by time code enabled hard drive recorders with Firewire ports for downloading the recorded files. (I just took DAT references out of my little Field Guide for the new print run.) WAV files are most prominent. The audio can also be burned to CD or DVD as mono, stereo, or poly-wav files.

The Sound Devices 744T also has the ability to record on DVD-RAM at the same time it’s recording on its own internal drive. You don’t want to be running around while that’s happening because DVD-RAM drives are not built to take that sort of abuse.

In what format is the audio delivered and how is the conversion made? Second, is ripping a wav/aiff from a CD the best way to get a song/effect for use in a sound editing program? If anyone could recommend some books and/or websites that would assist me in understanding the sound world it would be much appreciated.”

>>>>>You need to coordinate with post as to what they want to see. Sometimes things get lost in translation. Do yourself a favor and do a trial run with the specs they give you to make sure it all works. There have been situations in which post asks for the wrong thing and then it doesn’t work.

Ripping or importing from CDs into NLE programs is OK. You may have to do sample rate conversion if the audio is truly CD audio because CD audio has a 44.1 kHz sample rate and most digital video is 48 kHz.

Wolf Seeberg has written extensively on the subject of time code and cameras. I don’t remember the names of his books, but here’s a link that’ll get you started.

https://www.digitalcinemasociety.org/TechTips.php?item=24p+TC+%26+HD

Regards,

Ty Ford

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[Ty Ford]

Hi Jan,

Can you contact me off forum?

tyreeford@comcast.net

Regards,

Ty

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[Ty Ford]

Hello Hugh and welcome to the Cow Audio Forum.

What’s BR?

I suspect you’ll find that on video shoots with cameras that generate timecode, they are the source. For film camera with no TC another source, probably the audio recorder.

Regards,

Ty Ford

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