[Ty Ford]

Hello Inanc and welcome to the Cow Audio Forum.

Sounds are similar. The first one sounds like an RF hit.

The second on happens on a sibilant syllable.

How to reduce these? For RF, Move the receivers closer to the transmitters and cable back to the mixer or camera.

If your speaker is overly sibilant, try hanging the mic upside down on them. so the mic is aimed away from their face.
Try a different mic, Try a different speaker. Some people have very sibilant voices and they are extremely difficult to record without artifacts.

Regards,

Ty Ford
Cow Audio Forum Leader

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Ty Ford Blog: Ty Ford’s Blog

[Ty Ford]

Hello Craig,

Probably not.

The G2/3 xmitter input is wire to accept mic on tip and line on ring (or vice versa) with ground going to sleeve.

MAYBE the cables you have selected will be successful. (but that’s a big maybe)

Regards,

Ty Ford
Cow Audio Forum Leader

Want better production audio?: Ty Ford’s Audio Bootcamp Field Guide
Ty Ford Blog: Ty Ford’s Blog

[Ty Ford]

Hi Joao,

The best partners are those who – !. Get along! and 2. Have overlapping capabilities.

I am mostly a sound guy, but I also shoot and light and edit. I partner with guys and gals who usually are more videocentric and need the audio help. but I also help them with lighting, gripping, shooting and finding solutions to get the best out of what we show up with.

Regards,

Ty Ford,
Cow Audio Forum Leader

Want better production audio?: Ty Ford’s Audio Bootcamp Field Guide
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[Ty Ford]

Hi Joao,

Heh, I read that as you are a one man operation, but at some point, the gigs will require more.

This is an excellent time to congratulate yourself on getting bigger gigs, but as you do, remember that the more complicated a gig the less of you there is to spread around.

I’d begin asking myself who I know that I could partner with to make sure you get what you want. I shoot, light, do sound and edit but inevitably, when trying to do all, something gets a bit lost.

Regards,

Ty Ford
Cow Audio Forum Leader

Want better production audio?: Ty Ford’s Audio Bootcamp Field Guide
Ty Ford Blog: Ty Ford’s Blog

[Ty Ford]

Hello Joao and welcome to the Cow Audio Forum.

Bruce’s answer is right, but I do the math differently.

Sound travels at 1100 ft/sec. So about one millisecond per foot. Your camera mics and lavs are creatingr time/space problem and it’s causing phasing and comb filtering.

I guess I’d ditch the camera mic and split track the lavs, then pan ’em a just a bit in post to reduce the bleed, or maybe do a little more active mixing to pull out the mic not being spoken into.

Of course a nice cardioid on a boom might solve all of your problems. No phasing! Unless of course you can’t cover the action with just one boom (and a qualified boom op)

Regards,

Ty Ford
Cow Audio Forum leader

Want better production audio?: Ty Ford’s Audio Bootcamp Field Guide
Ty Ford Blog: Ty Ford’s Blog

[Ty Ford]

Hello Jonathan and welcome to the Cow Audio Forum.

Brian makes a good case. If you’re going to be in it for the long haul. Start by getting the best tools you can NOW, instead of buying too cheap which will force you to have to buy AGAIN later.

What kind of work do you expect to be doing the next two years?

Regards,

Ty Ford
Cow Audio Forum Leader

Want better production audio?: Ty Ford’s Audio Bootcamp Field Guide
Ty Ford Blog: Ty Ford’s Blog

[Ty Ford]

Hello Larry and welcome to the Cow Audio Forum.

I will NOT be a Pro Tools Nazi, but I have been using it for about 15 years. I was asked to be on the Audition development team. For reasons perhaps different than yours, I was unimpressed. Then there was the “we’re going to the cloud” thing and I just said , “No.”

Pro Tools/Avid is cloud-headed to some degree bit slightly differently.

I make my living with Pro Tools 10 (yes they are now at 12 or 13, but I haven’t upgraded my Mac so I can’t even run Pro Tools 11 until I do and I’m not quite ready to do that yet.

Splitting stereo track is as easy as selecting the stereo track and dragging it down to two mono tracks. You can adjust the level of each clip on the same timeline (track) with the mouse. (actually, I now prefer a track ball.)

on your #2….Hmm you probably won’t get it to match very well, but yes, it can be done.

#3, yes you can contour the low end with EQ to lose some wind noise. Maybe try RX3, RX4 or the new RX5 to pull out some wind noise as well.

I’m a big fan of RX software. It may not make it perfect, but it can usually be used to make what you have less ugly.

Regards,

Ty Ford
Cow Audio Forum Leader

Want better production audio?: Ty Ford’s Audio Bootcamp Field Guide
Ty Ford Blog: Ty Ford’s Blog

[Ty Ford]

Hello Larry and welcome to the Cow Audio Forum.

I think if you export your audio from the video, import it into the stand alone version of RX4, do what you want to do and then replace the original audio with the audio you processed in RX4, that should work. Try it off-line with something non-perishable first. I’m not aware that RX4 will let you edit audio. I think it just processes it.

Regards,

Ty Ford
Cow Audio Forum Leader

Want better production audio?: Ty Ford’s Audio Bootcamp Field Guide
Ty Ford Blog: Ty Ford’s Blog

[Ty Ford]

Hello Larry and welcome to the Cow Audio Forum

I use RX3 fairly regularly to salvage telephone audio and to remove clicks. What you’ve read here is right. I only use in on a track or a section of a track.

BTW, if you have a dry-mouthed narrator, the de-clicker in RX3 does a smashing job of getting rid of the clickies. The De-clicker – It’s not just for old vinyl!

Regards,

Ty Ford
Cow Audio Forum Leader

Want better production audio?: Ty Ford’s Audio Bootcamp Field Guide
Ty Ford Blog: Ty Ford’s Blog

[Ty Ford]

Chip,

You might want to check again. I’ve seen Pluaraleyes move video clips.

Regards,

Ty Ford
Cow Audio Forum Leader

Want better production audio?: Ty Ford’s Audio Bootcamp Field Guide
Ty Ford Blog: Ty Ford’s Blog