[Ty Ford]

Hello Wayne and welcome to the Cow Audio Forum. Welcome also to the world of Audio Mastering.

I think you have the right tools for the job. Bring all the selections into the same production and put them in the order you want them. Trim the heads and tails of any extra silence.

Using the mix automation, raise the level of the quiet ones. Listen for radical EQ differences and adjust each cut so your ear is not shocked as you listen to the cuts in sequence.

Put a compressor followed by a limiter in the stereo master out and adjust them for no more than 3 dB of gain reduction. Render the files out as 44.1 kHz, 16-bit, interleaved stereo files to a new folder called “Wayne’s Fabulous Eccleiastical Enterprise” or something similar.

Done!

Regards,

Ty Ford

Ty Ford’s “Audio Bootcamp Field Guide” was written for video people who want better audio. More at: https://home.comcast.net/~tyreeford/AudioBootcamp.html
or https://www.tyford.com

[Ty Ford]

I have that drive in an old G4 and about a dozen DVD-RAM discs.

I think I peeked inside once and the “platter” was flexible. I’m guessing you may NOT want to pull the cartridge apart.

Sound Devices, who make the 744T recorder came out first with a DVD-RAM system for off-loading audio from the internal drive. They have since switched to a DVD-R drive. You might ask your sound person if he/she can provide you with a DVD-R instead.

The 744T also uses CF cards. If the files are not too large, that may be another option.

Regards,

Ty Ford

Ty Ford’s “Audio Bootcamp Field Guide” was written for video people who want better audio. More at: https://home.comcast.net/~tyreeford/AudioBootcamp.html
or https://www.tyford.com

[Ty Ford]

::rim shot::

Thanks ladies and gentlemen, the band will be here all week!

What version do you have?

Regards,

Ty

Ty Ford’s “Audio Bootcamp Field Guide” was written for video people who want better audio. More at: https://home.comcast.net/~tyreeford/AudioBootcamp.html
or https://www.tyford.com

[Ty Ford]

Mono or stereo, shorter than the 416. Doesn’t have the low end a 416 has. Has a less peaky broader top end.

Regards,

Ty

Ty Ford’s “Audio Bootcamp Field Guide” was written for video people who want better audio. More at: https://home.comcast.net/~tyreeford/AudioBootcamp.html
or https://www.tyford.com

[Ty Ford]

And by all means, rtfm. 🙂

Regards,

Ty Ford

Ty Ford’s “Audio Bootcamp Field Guide” was written for video people who want better audio. More at: https://home.comcast.net/~tyreeford/AudioBootcamp.html
or https://www.tyford.com

[Ty Ford]

Hello Michael and welcome to the Cow Audio Forum.

There isn’t a way to transmit four, eight (or even two) wireless mics to one receiver. You need a separate receiver for each transmitter. You can, BTW, transmit from one transmitter to several receivers, but that’s not what you want to do either.

Why do you want four transmitters to transmit to one receiver anyway?

Think in terms of getting four transmitters, four receivers, and a mixer to combine them. The cheapest 4-channel mixer I’ve seen is the SignVideo ENG-44.

Regards,

Ty Ford

Ty Ford’s “Audio Bootcamp Field Guide” was written for video people who want better audio. More at: https://home.comcast.net/~tyreeford/AudioBootcamp.html
or https://www.tyford.com

[Ty Ford]

Try http://www.sounddogs.com

Ty Ford

Ty Ford’s “Audio Bootcamp Field Guide” was written for video people who want better audio. More at: https://home.comcast.net/~tyreeford/AudioBootcamp.html
or https://www.tyford.com

[Ty Ford]

[LanceB] ”
The levels are the same coming out of Premiere but thinking about it, it may be with the encoding the ads to mpg2. Fundamentally though we are saying that the levels are fine from us but the broadcaster (who is part of the organisation) are saying that our productions are broadcasting at different volume ie some are louder, some are softer. Which is why they want to capture off tape so they control the levels – which means it is a levels problem not volume?”

Hello Lance,

Could be some of your mixes are more compressed (audio, not data) than others. What happens when you listen to them?

Regards,

Ty Ford

[Ty Ford]

You’re not at Isola with Bronwynn WIlson are you?

Without knowing a lot more about each suite, it’s difficult to say. Certainly all systems need to know what 0dB is in the digital domain.

Is it just the monitor volume level in each room that differs, or is is the actual level of the file?

Regards,

Ty Ford

Ty Ford’s “Audio Bootcamp Field Guide” was written for video people who want better audio. More at: https://home.comcast.net/~tyreeford/AudioBootcamp.html
or https://www.tyford.com

[Ty Ford]

Establishing and maintaining a house standard is as much about having each person understand what the level should be as it is how the gear is calibrated.

If the five rooms are similar in configuration, getting that part right is relatively easy. Getting operators to mix and master the same way may not be as easy.

Some visually oriented folks really don’t have a good handle on audio. (and vice versa).
The results, therefore, may vary. As a starting position, perhaps someone can be designated the house audio mastering guru. He/she will travel to each suite for the final mix to make sure levels, EQ, compression and limiting are right. As the others in the suites see/hear how it’s done, they may learn from your guru. As they do, they can do the mix and have him/her sign off on it.

Getting a good spot mix is not simply about keeping it loud enough, but out of the red. A good mix also means attention to EQ, compression and limiting. Do that and your spots will kick butt and please your clients.

You will need to standardize your audio monitoring systems in all rooms. Having the same system in each suite placed properly so you can hear what’s going on is essential.

Don’t know where you are, but I do that sort of consulting.

Regards,

Ty Ford

Ty Ford’s “Audio Bootcamp Field Guide” was written for video people who want better audio. More at: https://home.comcast.net/~tyreeford/AudioBootcamp.html
or https://www.tyford.com