[Ty Ford]

Heather,

I understand, however, when you stop paying attention to audio, it becomes unhappy and will bite you, ruining your day and your sleep.

Regards,

Ty Ford
Cow Audio Forum Leader

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[Ty Ford]

Hello Darren and welcome to the Cow Audio Forum.

Sorry, I don’t but hopefully someone will surface with an answer.

Regards,

Ty Ford
Cow Audio Forum Leader

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[Ty Ford]

Hello Heather and welcome to the Cow Audio Forum.

You have described the elements of a “perfect storm” for an audio disaster. You simply can not afford to ignore audio in the situations you are describing.

If this is s short term job, hire someone with good credits and let him/her do it right.

Regards,

Ty Ford
Cow Audio Forum Leader

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[Ty Ford]

Joel,

Please give us an update on your project.

Regards,

Ty Ford
Cow Audio Forum Leader

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[Ty Ford]

Hello Abha and welcome to the Cow Audio Forum.

I’m not sure I understand your questions.

By PT do you mean Pro Tools? On my rig I just watch the video in the Pro Tools window that opens after I import video with audio. I don’t send it to another monitor.

GFx? I don’t know what that is.

Why are you using a projector? I doubt the cable length would cause latency, A processor might.

There certainly can be latency with MIDI.

Why are you running two machines? That in itself might cause delay.

Regards,

Ty Ford
Cow Audio Forum Leader

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[Ty Ford]

The original 320 Compellor had a limiter in addition to its main function as a compressor.

Limiter didn’t sound very good (I suppose because they also sold the Studio Dominator)

What you want is a compressor followed by a limiter. The compressor allows you to raise the level and reduce the dynamic range of the signal. The limiter puts a cap on the level to keep it from distorting and further deceases dynamic range. The end result is LOUDER AUDIO without clipping.

You are, in fact, technically distorting the audio with each step, but that’s how it works. Poorly designed circuits reveal their shortcomings by producing audible audio artifacts. The Compellor is very transparent.

Regards,

Ty Ford
Cow Audio Forum Leader

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[Ty Ford]

David,

A dbx limiter somewhere in the middle of their line or above should work just fine.

Do you need mono or stereo?

Regards,

Ty Ford
Cow Audio Forum Leader

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[Ty Ford]

then a compressor followed by a limiter should work.

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 David and welcome to the Cow Audio Forum,

Is it a case of greatly varying levels or is it just that you can’t get loudness and the levels are relatively consistent? You may just need a good comp/limiter. You may need a lot more.

We have seen the levels in local broadcast go wildly off from spot to spot. That’s different than normal audio processing.

The local stations have solved the wildly varying elves with hardware from Linear Acoustics in Lancaster, PA.

Otherwise, it’s usually a compressor followed by a limiter. AGC alone is seldom good enough.

If it were me, I’d be looking at an Aphex Compellor followed by an Aphex Studio Dominator.

https://www.aphex.com/products/320d-compellor/

I’m not even sure if they make the Studio Dominator anymore, but you could iron out a lot of bumps in your road with a Compellor. It has both analog and digital I/Os.

Regards,

Ty Ford

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[Ty Ford]

Hello Juan and welcome to the Cow Audio Forum.

Eric is correct. Sound quality wise your 702 is great.

There may be operational differences that may make a difference….

8 reasons for a mixer in front of a camera.

1. They let you vary volumes without shaking the camera or getting in the way of the camera op.
2. You may need to do that a lot with some people. I ride gain even if one person is talking if their voice fades on the end of each line. You can only do this in a relatively quiet environment, otherwise you bring up the ambient noise.
3. Mixer preamps (good ones) sound better than camera preamps.
4. Good mixers have input transformers that scrape off RF before it get into your audio.
5. Good mixers have limiters that allow you to record hotter, keeping your audio further above the noise floor without distorting.
6. Good mixers have EQ that lets you roll of LF HVAC noise before it gets into your audio.
7. Good mixers have mulitple outputs so you can feed more than one camera, or separate recorder simultaneously.
8. Good mixers make your sound better. If they didn’t pros wouldn’t waste money on them.

You can use Y-connectors for dynamic mics, but you have no ability to change the volume level individually.

Regards,

Ty Ford

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