[Ty Ford]

Ryan,

Do you expect to slow down the footage for a special effect?

If so, I’m guessing you audio is going to be whacked.

Do you know how much slow down you will use?

Maybe you could explain what you want to do.

Regards,

Ty Ford
Cow Audio Forum Leader

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[Ty Ford]

HI Bruce,

Audio recorders used to double record audio DO have a frame rate setting. My Sound Devices 664 audio recorder has 24, 25, 29.97 drop, 29.97 non-drop, 30 drop and 30 non-drop.

Regards,

Ty Ford
Cow Audio Forum Leader

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[Ty Ford]

How about this?

BDS wise, the BDSCL33 output cable fits the 680 as per: https://www.remoteaudio.com/…/rem_bdsv4_configchart_v...

There is also the option of using an external laptop/cell phone charger with 12v DC out such as this:

https://www.amazon.com/Anker…/dp/B00B45EOYS/ref=sr_1_2...

I’ve used a lower capacity anker battery (astro pro: 10,000 mah) and it powered the 680 for about 8 hours on-time.

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[Ty Ford]

Hello Leon and welcome to the Cow Audio Forum.

I don’t know the answer. Let me see if any TASCAM folks do.

Regards,

Ty Ford
Cow Audio Forum Leader

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[Ty Ford]

Hello Ryan and welcome to the Cow Audio Forum.

I’ve always been guided by the “use the same frame rate on the recorder that you’ll be using on the editing timeline” argument, but I haven’t worked at 96fps so I don’t know.

Hopefully others will chime in.

Maybe do a test run in the field to see how well it works????

As you may know,there’s no connection between 96 fps and 96 kHz audio sample rate.

Regards,

Ty Ford
Cow Audio Forum Leader

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[Ty Ford]

Hi John,

About 15 years backs I traded a 44B for a U 89. Both used obviously. Still using the U89. Great mic on voices.

Still have a 77DX, but the new ribbons have more sensitivity, so less noise floor. The NTR is kind of spooky quiet, especially for a ribbon. When I used it for a drum overhead in a living room/dining room “concert” space I was very impressed by how well the side nulls were working.

Regards,

Ty Ford
Cow Audio Forum Leader

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[Ty Ford]

Any mic should be peaking about -10 to -12, as you had it.

Where is the input level control on the camera dialed up to?

If you’re pushing the camera input so hard that you need to use the camera pad (ATT stands for attenuator), then take it off and reduce the input level control on the camera.

This whole thing is called “gain staging.” When you understand the different stages where gain can be adjusted. A little here, a little there and you’re done.

Regards,

Ty Ford
Cow Audio Forum Leader

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[Ty Ford]

Hi Anthony and welcome to the Cow Audio Forum.

I’m going to guess that wiring is the culprit. It’s not unusual for two devices to use the same connector, but be wired incompatibly.

I suggest you call Shure first to see if their wireless service dept. knows.

Short of that, you can call a Shure dealer who may know the secret handshake to get the mic wired properly or confirm that it will not work with that Shure Tx.

If you are tricky and resourceful, undo the plug on the end of the mic and plug that plug into the Tx.
Make notes on which wire is connected to which pin. Desolder the wires and try again. The ground wire (shield) will probably not need to be desoldered.

Please let us know how you do so we can learn from your experience.

Regards,

Ty Ford
Cow Audio Forum Leader

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[Ty Ford]

Hello Ray and welcome to the Cow Audio Forum.

I’m going to guess that attenuating the audio is being done on the camera. Is that right?
If so you’re turning down everything, including the hiss. Were you to gain that back up in FCP, the hiss would probably still be there.

With any wireless system, there are two parts, transmitter and receiver. You need to feed the transmitter properly by adjusting its sensitivity to match the mic and the loudness of the source of the audio so it does not overdrive the transmitter causing distortion. Too low is also bad and results in noise.

Does the Rode system have a level indicator for the transmitter? Get that right, then proceed.

The receiver may have an input level indicator. If that’s too high, you need to reduce the sensitivity of the transmitter. The receiver also probably has an output control. That needs to be adjusted so as not to overdrive the camera input or be so low that it requires the camera input controls to be turned up so high that camera preamp noise (hiss) is audible.

Most receivers output mic level. If your camera inputs are set to line, you’ll have to boost the level a lot at the camera and that will result in noise.

Hope this helps.

Ty Ford
Cow Audio Forum Leader

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Ty Ford Blog: Ty Ford’s Blog

[Ty Ford]

Hello Jared and welcome to the Cow Audio Forum.

We’re all here to help each other and Brian, Bruce and Richard have given you good advice.

Stop besting your head against the wall. You can’t fight physics, period.

You say you are a tech reviewer. My suggestion is to go “tech” as Richard suggested and get a head or ear/worn lav. The Countryman E6 comes in an omni and a cardioid.

You say you have a crappy, slappy room. WHY? Half the fight of getting a good soundtrack is the environment. Again, please see yourself banging your hear against a wall. Please stop it.

Here’s a link to my review of the Audio-Technica System 10 wireless, using their Pro 92 ear worn lav.

https://tyfordaudiovideo.blogspot.com/2013/12/audio-technica-system-10.html

The shoot was in my studio which has been acoustically modified. No big deal, but it’s tight and quiet. That plus having the mic on my cheek (really close to my mouth) pushes back the room sound even more.

Countryman also makes one similar and they also make a cardioid version.
https://www.countryman.com/e6-earset
You’d probably want the W5 directional “no band” version unless you scream a lot. You can probably get one with a cord to plug right in to your G3.

Regards and please save the head. Head trauma in which brain enters the blood stream can result in fibromyalgic pain. People think it’s part of what brought Elvis Presley to his death.

Regards,

Ty Ford
Cow Audio Forum Leader

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