Ty Ford
51
Audio Coins
54
COW Coins
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You should definitely do your homework. Frequencies that are usable in the US MAY be illegal in Spain. Check with Lectrosonics and Sennheiser for charts in Spain.
Regards,
Ty Ford
Ty Ford’s “Audio Bootcamp Field Guide” was written for video people who want better audio. Find out more at https://home.comcast.net/~tyreeford/AudioBootcamp.html
or https://www.tyford.com -
Hi Steve and folks,
Sorry, I’ve been smacked with a home construction project, (new room, new roof, new split HVAC) and trying to find honest answers about a mole richardson biax-4 lighting kit I eventually threw down for. My research indicates that there are NO lighting retailers in the DC, Baltimore area worth spit and B&H tried to jerk me around. I called M/R and asked for a GOOD retailer and was directed to Barn Door in CT. So far, so good.
The 96 kHz thing — for me, unless you are doing something really special and will be delivering in a format capable of reproducing it, is more of a “because we can” issue, especially when (or if) you’re delivering on DVD.
The bit depth is more critical. Lest we forget, CDs are 44.1 kHz, 16-bit, but that’s a delivery format, not a production or postproduction format. Using 24 or 32-bit to record and mix is where I’d out my storage and processing money. There’s a pretty big difference between 16-bit and 24-bit. Actually, a big difference between 16-bit and 20-bit.
The quality of your digital audio is directly proportional to the quality of your analog to digital conversion. I don’t have good skinny on the PreSonus DigiMax’s A/D converters. The question is whether the A/D converters in the multibridge are any better. If they ARE, then why not just run analog to them?
I use an eight channel A/D converter from a german company, RME to front end my digital audio workstation. I got it years ago to “front end” my small DIGI001 Pro Tools system. I also use outboard preamps by GML, Millennia Media and the Aphex 1100. The two channel Aphex 1100 has it’s own A/D converter with AES/EBU output.
I found (as I had hoped) that hot-rodding the front end with preamps and A/D converters improved the sound. In studio sound, converting from mic level to line level as early as possible has been shown to improve audio quality because the stronger line level is more immune to emi, rfi and other nasties. So running short mic cables to high quality preamps helps. House clock all of the A/D converters, too.
Is this helpful?
Regards,
Ty Ford
Ty Ford’s “Audio Bootcamp Field Guide” was written for video people who want better audio. Find out more at https://home.comcast.net/~tyreeford/AudioBootcamp.html
or https://www.tyford.com -
Hi Steve.
I frequently find myself mixing levels during takes to get the best sound. Will a rack mounted mixer give the sound op the flexibility to adjust levels with adequate ease?
I’d suggest you try Boom Recorder Software with the compatible hardware interface of your choice. https://www.vosgames.nl/products/BoomRecorder/compatibility.shtml
Boom Recorder records poly files. That’s a .wav file with up to 8 tracks in Pro Tools LE and significantly larger number in Final Cut Pro. I did 18 because that was the limitation off my I/O box. One file imports really nicely into FCP and put all of the audio on separate tracks.
I’m not necessarily a fan of 96 kHz audio. If correctly designed, 96 kHz offers an extended audio frequency response at the price of doubling your disk space consumption. It also allows the recording any super high audio frequencies (which by the way you’d have to be a dog to hear). The functional argument in favor of 96 kHz is that it allows more gradual decline of the HF filters that must truncate any audio before it reaches the specific sample rate.
The approximate frequency response for 48 kHz, is just under 24 kHz. Most people have a hard time hearing 15 kHz. What CAN happen is that in an effort to truncate frequencies above 24 kHz, the electronic filters can create anomalies that end up in the audible (20 Hz to 18 kHz) range. So shift the sample rate to 96 kHz and operate those filters more gradually and fewer audible artifacts (if any) will be created.
Do we really benefit from a system that lets us have a 20 Hz to 48 kHz frequency response? There are analog and digital circuits that can pass frequencies that high. I’m not so sure we have any amplifiers and speakers that can pass those higher frequencies with accuracy that are affordable to the average home theater system owner.
I may be wrong, but I don’t think TV stations, network trunks and satellites have data paths wide enough to handle un compressed 96 kHz. Dolby Digital 5.1 is what, 384 kbps?
A stereo channel of uncompressed 44.1, 16-bit is just under 1.5 mbps.
Here’s another, longer explanation of the sample rate/frequency reponse thing.
https://www.digitalprosound.com/Htm/SoapBox/soap2_Apogee.htm
How that?
Regards,
TyFord
Ty Ford’s “Audio Bootcamp Field Guide” was written for video people who want better audio. Find out more at https://home.comcast.net/~tyreeford/AudioBootcamp.html
or https://www.tyford.com -
The Symetrix 528E is a typical single rack space pre/EQ/comp.
The dbx 286a is a little surprise that costs less and sounds really quite good.Reviews of both are in the On Line Archive on my web site.
Regards,
Ty Ford
Ty Ford’s “Audio Bootcamp Field Guide” was written for video people who want better audio. Find out more at https://home.comcast.net/~tyreeford/AudioBootcamp.html
or https://www.tyford.com -
Yea!!!
Finally.
Thanks so much!
Ty Ford
Ty Ford’s “Audio Bootcamp Field Guide” was written for video people who want better audio. Find out more at https://home.comcast.net/~tyreeford/AudioBootcamp.html
or https://www.tyford.com -
I always thought they used special lights in theh jewelry stores to make the diamonds glitter.
Have you asked a jewelry store what they use ?
Ty
Ty Ford’s “Audio Bootcamp Field Guide” was written for video people who want better audio. Find out more at https://home.comcast.net/~tyreeford/AudioBootcamp.html
or https://www.tyford.com -
Thanks again Leo
Ty
Ty Ford’s “Audio Bootcamp Field Guide” was written for video people who want better audio. Find out more at https://home.comcast.net/~tyreeford/AudioBootcamp.html
or https://www.tyford.com -
Hey Bob,
I resemble that!
Ty
Ty Ford’s “Audio Bootcamp Field Guide” was written for video people who want better audio. Find out more at https://home.comcast.net/~tyreeford/AudioBootcamp.html
or https://www.tyford.com -
Thanks guys/gals,
Leo, I appreciate your sense of humor. At this point I’m a much better sound person than a shooter or LD, but, providing I am given a few more years on the planet, I may change that.
Here’s what I know. In speaking to anyone with a lighting kit, EVERRYONE has a room somewhere in which they have tossed lighting gear that was a bad purchase and didn’t do what they wanted or expected. I’m trying to leapfrog that and get gear that I’ll be able to use and keep on using. Right now I need lighting for one shot and two shot, probably 16:9 interiors with no windows. Windows will eventually come into play.
Lightweight, functional tools that will remain part of my kit. That’s what makes the most sense to me. My experience (as a soundman + grip) is that a soft key light, fill light, hair light and some backlight toys should get me where I want for this stage.
Is that so wrong!?!? 🙂
Regards,
Ty Ford
Ty Ford’s “Audio Bootcamp Field Guide” was written for video people who want better audio. Find out more at https://home.comcast.net/~tyreeford/AudioBootcamp.html
or https://www.tyford.com -
Hi,
So today, after being somewhat influenced by the talk of fluorescents, I looked up a four light Caselite. Whne I mentioned that to a local shooter he said he was very wary of them because he had heard of operating instructions that demanded that the tubes be oriented so that the “bottom” of the tube was “up.”
Apparently the concern was that particles in the tubes would fall down to the contacts and cause the tube to malfunction. Does anyone know anything about this?
Ty (audio is looking easier everyday except for mixing analog and digital wireless mics in one kit and then you might have problems) Ford