[Ty Ford]

The Sennheiser G series is good. When you buy, have the sales person check to see which frequency block is good for you. You can do this yourself by going to a site that has a chart of cities and spectrum.

The Lectrosonics site has an easy to use chart:

https://www.lectrosonics.com/cgi-bin/tv_form.pl

Plug in your city and across the bottom you will see what frequency ranges are currently being used by both analog and digital TV stations and where they are on the compass relative to the center of town and how far away they are.

If they are far enough away, you probably won’t have much to worry about. I will mention that on one occasion a shooter was getting hits on his single channel wireless mic receiver in Baltimore. He thought it was a local DTV station. In fact, it was a DC analog TV station that was getting to his receiver because he was on south side (DC side) of the top floor of the World Trade Center in downtown Baltimore!

You should always have a hardwire backup for when something gets into your wireless. I use Countryman mics. I have them put a connector link into each mic cable so I can plug the mic into my wireless body transmitters or into the other half of the link that goes to a regular XLR power supply.

I have more audio tips like this in a little book called the Ty For Audio Bootcamp Field Guide. There’s more about that on my site; http://www.tyford.com

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

[Ty Ford]

Thanks Don,

as a preferrer of 24P with only a limited brain pan, this article helped alot until my brain exploded.

I’ll have to try reading it several times to see if I can absorb more and explode less.

No wonder the popcorn costs so much!

Any other pointers for getting XL2 24p in/out of the editing system (FCP) are appreciated.

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

[Ty Ford]

And there’s really no wayto tell what’ll wok. It’s sort of like lighting. You show up and put up enough stuff to make things look, or in this case, sound good.

Small diameter (1/2″) condensers in a stereo array will work if the stage is not too wide, but then you have to figure out where to put the mic stand or how to fly the mic from above.

Sometimes crossfired shotguns work for each side of the stage.

Sometimes three or four omnis across the front work best.

Yah have to hear it to know it.

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

[Ty Ford]

Export a reference movie. Hmm, what does that mean? How is different than exporting any other way?

Thanks,

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

[Ty Ford]

Your talent is excessively sibilant?

If everyone sounds overly sibilant, you’re either working with Daffy Duck and his family or perhaps you’re not setting levels by peaks, but by RMS.

Try finding the overdriven stage and back it off.

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

[Ty Ford]

In that case, ask him/her. There are many solutions.

maybe Quicktime, maybe AVI.

Ty

[Ty Ford]

wav files, 16 or 24 bit, 48 kHz.

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

[Ty Ford]

I like the countryman B6 and E6. Sony 88b (well not as small as the Countryman), but smallish. All of the really small ones have more selfnoise because the diaphragms are so small, but if your ambient noise is high enough, they really work well and if it’s not too windy, can frequently be hidden in plain sight.

AT has a small onee as well, but the number escapes me.

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

[Ty Ford]

[Matte] “You’re going to need one (if not THREE) GREAT, experienced audio people.
The band-members will shout, mumble, talk-over each other, and say at least a few things that should NOT go on the air (for whatever reason).

***Count on it!

If you have adequate set-up time for each interview segment, a LAV mic on each person who speaks in that scene would work pretty well (you would not need a boom-operator (or two).

***But count on ducking the mics not being used and hoping to get them back up when THAT person speaks or split track them with some dialog going to one track and soem going to another track. More work in post, but cleaner audio.

If you need to use booms, the operator(s) would need to be fast, accurate, and keep the mics out of the shot… not exactly easy if you’ve not had the proper experience.

***Yah,

You asked what mixer?”

The Sound Devices 442 is a 4 channel mixer. Each input has its own limiter and you can feed two (well three in a pinch) cameras simultaneously. It also sounds great and has a direct out for each input in case you wanted to iso tracks to a DAW or something like a Fostex FR-2.

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

[Ty Ford]

And Garage Band loops also work.

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