Ty Ford
51
Audio Coins
54
COW Coins
Forum Replies Created
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Level loudness (measured loudness) and apparent loudness may vary due to different rms to peak ratios that either naturally occur or that are the result of previous gain reduction (compression and limiting).
You also need to really keep an eye on the peak meter reading and let the rms readings just be what they are,
Regards,
Ty Ford
Ty Ford’s “Audio Bootcamp Field Guide” was written for video people who want better audio. Find out more at https://www.tyford.com
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Thanks John,
Let me know what you find out. I suspect that a video card of some sort is required. The 002 can get sort of antsy when other firewire devices are attached to the computer.
Regards,
Ty
Ty Ford’s “Audio Bootcamp Field Guide” was written for video people who want better audio. Find out more at https://www.tyford.com
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Hi John,
Not at present. I believe the ADR and SMPTE software required for that are bundled as Digitranslator and DV Toolkit. They are options and not inexpensive; around $1k as I recall.
Try googling DV Toolkit for Pro Tools LE
Regards,
Ty Ford
DV Toolkit 2: Post Production Tools
Price $1,295.00
The Digidesign -
Hey Ernie,
You need more than one mic. I like the Audio Technica PZM mics and automixer combo and the Shure FP410 automixers.
Gotta be careful about table thumpers and paper movers, but that’s typical.
You can sometimes zone the mics, setting one between two people, but the further away you get from the mic, the worse it gets.
The automixers make a big difference, they lower the mics not being spoken into.
Ty Ford
Ty Ford’s “Audio Bootcamp Field Guide” was written for video people who want better audio. Find out more at https://www.tyford.com
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Not yet on my machine.
Ty Ford
Ty Ford’s “Audio Bootcamp Field Guide” was written for video people who want better audio. Find out more at https://www.tyford.com
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The best in the world is the Schoeps CMC641. I have two of them and use them all the time for boom work, handgrip on-the-street work, V/O work and also for any musical instrument.
The CMC641 is used in feature film dialog, probably more than any other mic out there.
Price is about $1500. Don’t let that scare you. It’ll be a mic you buy once and use for the rest of your life.
I have compared it to the Oktava, AT4053a, Peluso and other hypercardioids and have found that hypercardioids are NOT all the same. My strong advice is to bite the bullet, buy the Schoeps, and instantly improve your audio from that point on. Yes, it makes THAT much difference.
I have had calls from shooter/editors, from the edit bay days after the shoot, calling me to say, “Damn! You were right. The audio sounds GREAT. What was that mic?”
Regards,
Ty Ford
Ty Ford’s “Audio Bootcamp Field Guide” was written for video people who want better audio. Find out more at https://www.tyford.com
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I think Someone mentioned that Audacity can declipp audio. DOn’t know, haven’t tried it.
I’m presuming that there isn’t something wronng with the audio feed from the digibeta deck to whereever it’s plugged in. Other digibeta tapes play OK?
Ty Ford
Ty Ford’s “Audio Bootcamp Field Guide” was written for video people who want better audio. Find out more at https://www.tyford.com
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If you’re shooting interiors, you don’t want a shotgun, you want a hypercardioid.
If I had a nickel for everytime I said or typed this, I’d be a millionaire. I’m actually considering having them carve that on my gravestone.
Maybe it’s that people assume that a shotgun is the only type of mic to put on a boom. It isn’t. To find out why, go to my website, click on the OnLine Archives in column 2, open the Video folder and download the Mic Tutorial.mp4. You can see and hear why a good hyper works better.
Regards,
Ty Ford
Ty Ford’s “Audio Bootcamp Field Guide” was written for video people who want better audio. Find out more at https://www.tyford.com
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Hi Allen,
I did catch up with Fred and his cart at NAB. Nice work on that SignVideo ENG-44 mixer. I like it better than any Beachtek I’ve seen.
The NR software I’ve used from most folks is a little touchy feely. It’s about setting a threshold and then pulling out the noise some and then resetting the threshold or one of the other parameters and wiggling around some more.
That’s because noise is quite complicated, especially when you’re trying to extract something you want to keep from it.
I remember reviewing the Sony Oxford and finding it was great at making the audio go from horrible to pretty good, but getting it really clean was almost impossible without artifacts that were as bad as the noise. Other NR softwares are similar. There’s a NR in Apple’s Soundtrack Pro I’ve been working with lately that’s working pretty well. Similar to the others, and not without GUI weirdness (no, I haven’t read the entire manual 8(.
That 2.4 GHz “Bluetooth” lavalier mic from Ricsonix was VERY interesting. I’m curious to see how that will evolve.
Regards,
Ty Ford
Ty Ford’s “Audio Bootcamp Field Guide” was written for video people who want better audio. Find out more at https://www.tyford.com
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OK, here’s the thing.
Generally, there isn’t a lot you can do if no one listened to the audio and determined some thing was wrong as the audio was being recorded. My motto remains, “Always listen, ALWAYS.
What can cause this? I’m guessing, but I have been in situations in which the designers of the hall have placed speakers directly above the podium or stage; speakers that can’t be turned off.
As for a solution, if you can find a facility with a CEDAR Noise Reduction system, you MAY find that you can reduce SOME of the slap. This is a 6-band system and, while NOT designed to reduce echo and reverb, it can help.
This will work much better than expanders and/or gates because they create an uneven effect. Not their fault, they weren’t designed to do this job either.
I was talking to the CEDAR folks at NAB about this specific point and expect to have one of the units here shortly.
Regards,
Ty Ford
Ty Ford’s “Audio Bootcamp Field Guide” was written for video people who want better audio. Find out more at https://www.tyford.com