[Ty Ford]

Hello Buck and welcome to the Cow Audio Forum,

Must be the time of the season for CS-10 comments. I have answered several questions the last few days.

I had one here from 24Plus and it was way too noisy. I sent it back to Jim Pace and asked him to contact me if it was broken. He never did. I assume, then, that it wasn’t broken and that it’s a really noisy mic. Especially so for its price. It was a little weird to see it had a hardwired cable. Dunno. I just came away with a very funky feeling about it.

The MKH 60 mics have a lower selfnoise than does the 416 and the EQ curve is not as peaky as the 416. If you’re after distant natural sounds, I think the 60 would be a better choice.

Regards,

Ty Ford

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[Ty Ford]

Hello David,

In fact, I did broach the topic of Soundtrack Pro with the two Applelites from Reston, VA. (The other five were from Cupertino). All nice folks dedicated to doing a good job.

The Restonities quickly became uncomfortable after I asked a few questions and offered some simple advice. When I suggested that I wasn’t looking for a full time job, but that maybe a year’s contract would do, one of them said whatever might be needed could be accomplished in a day or two. Guess I should have pursued who I might talk to about it, but the comment didn’t sound like an invitation.

Not wanting to be a buzz kill, I backed off. Soundtrack Pro, IMO, was designed by a computer person, not by anyone with a pro audio background. If it had been, there would be normal industry standard conventions in all sort of things that would make it more user friendly.

I changed the subject line of this post for any Apple folks looking for Sountrack Pro post. I’m an Apple user since 1986. Still have a Mac SE that I had converted to an SE 30. That means I have been using Apple computers longer than some Apple employees have been alive. I own 4.5 Macs (the Titanium Power Book is fading), 3.5 of them I make a living with. I run a DIGI 002 and DIGI 003 with Pro Tools LE for almost all of my audio.

I like Soundtrack Pro. I want to like it more. Even the audio in FCP could use a tweek. I have been more successful of late in using compression, limiting, reverb and E within FCP, but it’s also sort of clunky in its own way.

Soundtrack Pro (and FCP) could be more audio friendly. I’m just sayin’………:)

Regards,

Ty Ford

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[Ty Ford]

Great find, Bill. I’ve been waiting for one of these.

Thanks for letting us know!

Regards,

Ty Ford

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[Ty Ford]

It’s pretty open to interpretation. How big (unrealistically big) do you want ’em to sound?

Add low end effects, add bomb explosions, add lightning strikes. Layer it all and see what you get. Enjoy.

Regards,

Ty Ford

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[Ty Ford]

Will,

Careful with cardioid lavs, they can sound a little weird because the fidelity is compromised for the directionality.

Countryman B6 omni lavs are tiny. I use a little G-tape, make a 1″ loop in the cord, put it on the tape and put the tape inside a jacket opening with the tip of the mic aimed up at the face.

I have also rigged them inside a shirt with the mic poking through a shirt button hole and hiding behind the button. Takes a bit more time, but it’s invisible. Outside, with wind, you need the little foam ball or something bigger, depending on wind conditions.

Regards,

Ty Ford

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[Ty Ford]

Not a bad plan, John. Maybe roll off a bit of the top end as well. Air knocks down HF.

It sort of depends on whether or not you want real gun sounds or “movie” gun sounds.

Movie gun sounds are artificially concocted.

Regards,

Ty Ford

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[Ty Ford]

Hello WIll and welcome to the Cow Audio Forum,

I only have anecdotal info; most of it cautionary.

What is a no-problem frequency here in the states may be the frequency used by the police, government, taxi-cabs or something else. Reports of confiscation exist. Reports of putting people under arrest exist.

In Japan, 10mW is the maximum legal power.

There may be people with more positive stories. If there are, hopefully they’ll toss in here.

I’d reach out to Sennheiser and lectrosonics to see of they have any info.

Your film crew leader will probably have to deal with the Nigerian government in order to bring film/video gear in for the shoot. Perhaps letting them do the inquiry would be a good idea.

Regards,

Ty Ford

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[Ty Ford]

Yes it can, provided you use a low sensitivity mic and a noisy camera preamp. In applications where the mic is more sensitive and the preamps are OK, it’s not a problem.

Regards,

Ty Ford

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[Ty Ford]

Hello Calvin and welcome to the Cow Audio Forum.

Let’s make a tutorial out of your question so others may also learn.

The ATR-55 is a mono mic. The GL2 has a stereo, unbalanced audio input.

I have a problem with any camcorder calling itself “professional” when it doesn’t have XLR audio inputs, but I’ll save that for another day. Cameras that do have XLR inputs for mic or line level sources frequently have a switch that allows one input to feed both channels.

Your problem isn’t the mic, it’s the camera’s “plumbing” and your expectations.
You expect a mono mic to feed a stereo input across two channels. The camera is not wired that way. (well, maybe it is, but you may not have found the menu options IF they exist.)

So you need a plumbing solution. An adapter that is wired to feed mono audio to both camera inputs. I know of cables that have an XLR on one end and a specially wired 1/8″ TRS plug on the other end, but, off hand, I don’t know of any simple barrel adapters. Not to say they aren’t out there. Call Audio Techncia in Stow , OH and ask to speak to customer service.

When you get to that person, tell them about your plumbing issue. I know AT makes some adapters, I don’t know if they make one like this.

Regards,

Ty Ford

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[Ty Ford]

Hello Niall and welcome to the Cow Audio Forum

The TASCAM 2424 has been in the market successfully for a long time.

https://www.tascam.com/products/mx-2424.html

Regards,

Ty Ford

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