Ty Ford
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Hi Kevin,
Thanks for coming back to let us know. I’m sure our efforts will be appreciated by others.
Regards,
Ty Ford
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Hello Paul and welcome to the Cow Audio Forum.
My suggestion to Ruth was…
“Try opening the mk iii input as little as possible (one click) and use the line out from the DR60-D to feed the mk iii.”
Engaging the high-pass filter on the mic blocks the low frequencies – Think, “pass high means block low.”
Try it without the high pass filter engaged and please let us know how that works.
Regards,
Ty Ford
Cow Audio Forum LeaderWant better production audio?: Ty Ford’s Audio Bootcamp Field Guide
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Hello Bob and thanks for stopping by the Cow Audio Forum.
I have a mid 2010 dual 2.4gHz quad core (And i wish I knew what all that meant) tower running OS X 10.7.5 and 32 GB Ram with PT10. Unless there’s something hinky with your tower, I’d say you’re good to go.
Check the Pro Tools 10 config chart for hinkyness: https://tinyurl.com/l8tj73r
You might have to download the proper drivers. I think when I went to V10, the drivers were not a part of the download and my DIGI 003R was not recognized until I figured that out and downloaded them. Weirdly, they were numbered version 9 even though they were for Pro Tools 10.
Pro Tools 10 does not require Digidesign hardware, but it does require an iLok.
If you haven’t used PT before, there is a learning curve.
Regards,
Ty Ford
Cow Audio Forum LeaderWant better production audio?: Ty Ford’s Audio Bootcamp Field Guide
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[Craig Alan] “1) Could we use a mike with a Sennheiser plug-in and two receivers set to the same channel, one for the house board and one on our field mixer?
A1. Yes if the receivers and transmitter are compatible.
2) Or a Y-splitter and an XLR for each?
A2. Yes, if the split is done at an XLR. (probably with 1/4″ or miniTRS, but wiring is less consistent with them)
3) Could we use a splitter on the output of the house board to feed a PA and our mixer?
A3. Yes for simple things, or just use a sub-mix out on the board if it has one, but you’d want to get a pre-fader send so when the board op changes the mix, your levels don’t change. This presumes there’s nothing going on that actually needs mixing, like a music mix of vocals and instruments. Then you’d probably want the post-fader mix.
4) Does splitting an audio signal effect its gain?”
A4. It can. Depends on the particular circuits. Sometimes not a problem, Sometimes a problem. If you do it regularly, maybe look at a splitter. Radial makes some very solid ones. This one runs at mic level but has a pad so you can also run it at line level. https://tinyurl.com/q7mzrkq
Regards,
Ty Ford
Cow Audio Forum LeaderWant better production audio?: Ty Ford’s Audio Bootcamp Field Guide
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Peter,
I appreciate your position, but (an this is why I choose not to work on wedding and other “social” video shoots) You roll in and that’s what you’ve got. It’s a totally different playing field from yours, but you do learn a LOT from it.
Last time I tried something like that here’s what happened.
Video guy says, “Simple shoot. A gal will sing from a stage. We can put up a mic stand. We shoot her and go home.” Sounds easy.
We get there and find two walls of the venue are 30 foot high glass. Fortunately, the back wall behind her has a drapery. She and her accompanist show up. We chat. She goes on stage and says, “Where are the monitors?”
Oh, an accompanist….playing a grand piano.
Um, what monitors? We’re a video shooting company, not a PA company.
There are two XLR jacks on a wall near where we have the camera set up; a male and a female. We are told we can not use the house system.
I connect the male XLR to my Sound Devices 442 mixer and hear AC buzz and the house mic. Totally unusable.
I connect the output of the Sound Devices 442 to the female XLR and plug in a mic to the 442. I open the mic and hear my voice through the overhead Lo-Fi ceiling speakers.
Not knowing exactly what to expect. I had brought a Neumann U 89 with suspension mount and two Schoeps CMC641 with a stereo bar and two mic stands. (and some other stuff I don’t recall)
Put both Schoeps on the piano and the U 89 up for her, in hypercardioid.
The three mics came through the Sound Devices 442. Mono outputs went to the camera and to the wall jack. I used the ceiling speakers to fill the room so she could hear herself. I prayed that the directionality of the Schoeps and Neumann would save me from feedback. We did get 20 minutes of rehearsal before the doors opened and several hundred people arrived for the benefit dinner and concert.
She was good with the “overhead monitors”, but I had to do some very active mixing to feed the camera and the overheads properly because they were both getting the same feed from my mixer. I think we had a wall-mounted volume control for the overheads, but it was in a closet in the tech room several rooms away. I had the shooter help me by adjusting the overheads so I could also send a good feed to the camera….any prayed.
I had set the U 89 high pass filter to 80Hz for the first set. Oh, right. When we first met her, she said she’d be doing two sets. One of show tunes and one of torch songs and for the torch songs she’d want to be closer to the mic. In the break between sets, having heard her first set and knowing she’d me closer to the mic this time, I switched to the 160 Hz high pass filter. I’ve never used that setting before (or since).
During both sets, I was mixing levels and EQ on the Sound Devices 442 to keep her in the pocket. Changing to 160 Hz was a good move because when she moved in and crooned, I had to use the Sound Devices 442 variable high pass filter to keep her from clouding up. (I’m making all of these decisions over a pair of Sony MDR 7506 headphones and listening to the room overheads.)
At the end of the event, the gal and her accompanist were very happy, the crowd was very happy and the client was happy. My best work? No, but it achieved its purpose. I did have one short feedback ring at the beginning of the first set when the pianist began playing because he was so quiet I brought up the Schoeps mics and caught a bit of ring from the overheads. That moment taught me how much room I had between a rock and a hard place and I didn’t have any more feedback problems.
Thinking back, there was no other PA. I had basically hijacked the ceiling speakers and they were her monitors as well as what the audience heard her on!
End of Story
I continue to be hired by the video company. They were very appreciative of my “wizardry” that night and quite honestly, I amazed it actually worked.
Oh if you do get a PA system, please remember that you’ll also need someone to run it.
Want better production audio?: Ty Ford’s Audio Bootcamp Field Guide
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Hello David and welcome to the Cow Audio Forum.
“Never use anyone elses kit! It will be rubbish anyway and probably fail, be wrongly configured, pop like mad, be riddled with interference and hum, and be generally unsatisfactory.”
Peter has a great deal of experience and is 90% correct, however, I have been in situations where the house system is workable and very occasionally quite good.
In general, especially for wireless use, I want to use my kit because I know how to use it and know what shape it’s in. House systems can suffer in all sorts of ways, as Peter, notes. Figuring them out can be frustrating and time consuming, but sometimes that’s what you’ve got. So it’s a good idea to collect a bunch of different adapters that will let you “McGyver” a solution. XLR to 1/4″ to RCA, male to male and female to female adapters, a variety of Y cables for inserting or extracting audio to or from an existing system.
Here’s a link to a “simple” kit. https://tinyurl.com/q4na397 It won’t solve all of your problems, but it’s a good starter kit.
If you come up with a good PA that meets most of your requirements and you don’t mind humping it to the gigs then that’s great and please let us know what you come up with.
Regards,
Ty Ford
Cow Audio Forum LeaderWant better production audio?: Ty Ford’s Audio Bootcamp Field Guide
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Hello Kevin and welcome to the Cow Audio Forum.
I don’t know the menu structure of the recorder, but it does seem as though you have a limiter on somewhere.
Regards,
Ty Ford
Cow Audio Forum LeaderWant better production audio?: Ty Ford’s Audio Bootcamp Field Guide
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Hello Abhayadev and welcome to the Cow Audio Forum.
Can you please post some male and female audio so that we may hear your problems?
Regards,
Ty Ford
Cow Audio Forum LeaderWant better production audio?: Ty Ford’s Audio Bootcamp Field Guide
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Wow! Great documentation. Very helpful.
My top idea would be a wireless lav for the presenter and push to talk desk mounted mics at every position.
My next idea would be figure of eight mics between each pair mounted between the tables and run through a series of auto mixers. I’ve only seen them in 8 channels maximum, so you’d need at lest three, maybe four of them. with the output of each automixer going to a separate track.
Regards,
Ty Ford
Cow Audio Forum LeaderWant better production audio?: Ty Ford’s Audio Bootcamp Field Guide
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Hello Terry and welcome to the Cow Audio Forum.
You concerns are well founded. There is not at this time an elastic microphone. There is no boomable mic that will deliver sound properly when someone bends over from a standing position to speak to the floor.
If the person is in an acoustically treated recording studio and is only going from seated to floor, you can do pretty well by hanging a Schoeps cmc641 just out of frame and angled down to catch the guitar playing and his presentation. Like this.
https://www.youtube.com/watch?v=WzOX8VBWVig
Standing is a bit of a stretch, though. In a regular space is also problematic. What will work is a headworn mic like the Countryman E6. It can be wired or wireless.
Regards,
Ty Ford
Cow Audio Forum LeaderWant better production audio?: Ty Ford’s Audio Bootcamp Field Guide
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