[Ty Ford]

Right back to you Hollington,

Well how about this. Try a better mic with your camera. Lavs have small diaphragms therefore they are noisy. Some a lot noisier than others. So the VX2000 doesn’t have XLRs does it?

Interviews, hmmm, a locked down hypercardioid or supercardioid to a Sound Devices 302 to your camera may well reduce the hiss. A Schoeps cmc641 is the top shelf super. You could also try a Sanken CS-3e. Rent them first.

The NT1-a is a studio mic. Yes it is quiet, but it’s a little edgy. And it’s a cardioid and that’s too wide most of the time. The mics and mixer are bound to help your sound.

Regards,

Ty Ford

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[Ty Ford]

Ad copy is ad copy.

What gear do you have now?

Regards,

Ty Ford

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[Ty Ford]

Thanks Jeremy

That may be the cause of his problem, but it wasn’t the cause of mine.

Regards,

Ty

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[Ty Ford]

Hello Jeremy,

The hand holding to which you refer; what twitch where for individual clips, if you don’t mind.

Cheers,

Ty Ford

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[Ty Ford]

Hello Ben,

I’ve been through the “can’t get it out of the box at 16:9” syndrome. That’s a little different than what’s going on here. At least I think it is. For me the answer to that was to use a 16:9 anamorphic setting in the advanced export folder in Compressor. A guy here locally showed me that one. Since then, things have been better.

Among other things, don’t get caught up in what the capture window is showing you during capture, I don’t think the capture window knows what to do with 16:9 (at least from my machine) but it doesn’t seem to matter once I get the video in.

My problem was that half of my clips on canvas were fine and the other half weren’t and I don’t think I changed anything.

I remember someone talking about some sort of digital flag or data marker recorded and generated by a camera that needed to be recognized for 16:9 to show properly. The string I read seemed to say that some cameras didn’t have the ability to generate the proper data to tell FCP that the video was 16:9. I don’t know how fragile that flag is, or how cavalier FCP may be with it. If that’s not it, someone please correct me.

For these current clips, I used the output setting in Compressor suggested by Ken Stone for how to make your clips for YouTube. Wow, I never knew there were so many settings. Has Apple made FCP infinitely adjustable to its own detriment? These settings, btw, preserved the 16:9. You can see them, if you like at https://idisk.mac.com/tyreeford-Public

They are in a folder called “GuitarsOfPikesville.”

Hope this has been of some help.

Finally, I’ve been producing audio for years. Does anyone else have problems with the way audio is handled in FCP or Soundtrack Pro? Is it just me? Seems like the GUI was created by people who never operated pro audio gear.

Regards,

Ty Ford

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[Ty Ford]

Hello Scott and welcomce to the Cow Audio Forum.

The Sennheiser G series and Audio Technica 1800 series are about it for your money.

The AT system has a dual receiver. Two receivers built into one chassis.

If you’re doing any kind of work, having two wireless lavs or a wirelss lav and a handheld come in pretty handy.

You can buy the dual receiver and one body mic for about $500 and ad another body mic later.
https://www.camcor.com/cgi-bin/cat/id=1202767222&src=fg

Regards,

Ty Ford

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[Ty Ford]

Eric,

Thanks for checking back in. Glad it worked out.

Regards,

Ty Ford

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[Ty Ford]

Sorry Thax.

I thought that was a “given.”

Regards,

Ty

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[Ty Ford]

Thanks for that Roland.

If the plug has two non-conductive bands, it very likely is balanced.

Regards,

Ty Ford

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[Ty Ford]

Hello Nelson and welcome to the Cow Audio Forum.

I have Jam. I went to it from Toast when a CD replication plant kicked back a master I had burned with Toast. I have not had that problem with Jam.

I do think there’s a burner issue as to whether or not a particular burner will pass CD text info to the burned CD. On my burner, even though I fill in the CD text fields, it does not survive the burn.

If Roxio is reading this, you guy could do a lot better job on support.

Regards,

Ty Ford

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