[Ty Ford]

The (LR) Left Rear and (RS) Right Surround?

I’m still confused. Aren’t rear speakers always surround?

Regards,

Ty Ford

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[Ty Ford]

Hi Craig,

If you don’t have the dough, that’s the way to go.:)

Regards,

Ty Ford

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[Ty Ford]

Hello Matthew and welcome to the Cow Audio Forum.

Camera exposures and audio recording levels are similar. If you shoot under exposed, adding gain in post results in visual noise. Under recording in audio and boosting in post results in bringing up the system noise level.

Overexposing and over-recording have a similar parallel result.

The best thing to happen in pro audio has been the move from 16-bit to 24-bit recording. Those extra 8 bits (when properly engineered and designed) allow sound to be lower in level and still not be as far into the noise floor as 16-bit audio.

This is another of the problems with HDV audio. It is not even 16-bit 48 khz. HDV audio has one fifth the data rate of 16-bit, 48 kHz audio, so noise low record/floor problems tend to be more obvious.

Regards,

Ty Ford

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[Ty Ford]

Hello Tim,

Mixing surround properly is not trivial.

Yes, your proximity to the speakers is important. So are the distances between the monitors.

If the LF, RF monitors are too wide apart, you will under pan. If they are too close together, you will over pan.

Some want the same model speaker and amp power for each of the LF, RF, LR, RR. Others don’t care as much about the rears.

I wrote an article about this a number of years back and interviewed a pro who was doing surround mixes. He had his “mixing stage” set up in his living room which, he thought replicated the average home listening environment. That’ll probably work, but it may not work if your final product will be going to theaters. (bigger space, further from listeners, etc.)

Short of THX, I don’t think there is a real standard; just strong suggestions, and some not so strong.

Regards,

Ty Ford

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[Ty Ford]

Thanks Peter,

OK, what are you trying to do?

Ty Ford

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[Ty Ford]

Hello Peter and welcome to the Cow Audio Forum.

Please explain what you are trying to do. The answer may range from a cable to a mixer.

Please be specific about what gear you have.

Regards,

Ty Ford

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[Ty Ford]

Hello Tony and welcome to the Cow Audio Forum.

The VIOP gear, if close enough to the lav (wired or wireless) may interfere with it.
Maybe not. Proceed with caution.

Regards,

Ty Ford

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[Ty Ford]

Right you are. A stiff, starched button down can be VERY noisy.

Regards,

Ty Ford

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[Ty Ford]

Thanks John,

That’s also pretty much been my take on them.

The AT 1800 does pretty well by them. A lot of little things. Those folks whom I have suggested buy the 1800 still like me. The 1800 also fit in that “under-appreciated” category you speak about and the ability to have two receivers in one body is something the camera ops like, especially on those cameras with an external power socket for powering the receiver.

The 1800 has a low an high power switch which can be useful. The battery doors don’t pop open unexpectedly if you put the transmitter in a pants pocket (I use a bit of G tape since that happened the first time.)

There are a few other neat things, but I haven’t had any coffee yet this AM.

Regards,

Ty Ford

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[Ty Ford]

Hello Jared and welcome to the Cow Audio Forum.

You were listening during all of the recording or just watching the meters?

Impedance (not imdedience) is not the issue. If you were really listening to the camera headphone output during the shoot and didn’t hear the distortion, double check yourself. Put the tape back in the camera and play it back again through headphones. If it sounds good there, the problem is not the tape.

Regards,

Ty Ford

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