Will Salley
Forum Replies Created
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You need to determine what type of 4-track machine the tapes were recorded on – consumer models, and some later pro models recorded quarter-track in both directions resulting in a stereo program. Pro models recorded quarter-track in ONE direction and resulted in 4 mono or two stereo tracks. The difference is the stereo tracks on the pro models were on the first and second tracks across the tape, whereas the consumer models put them on the first and third tracks. This was done to make the pro model compatible with half-track machines – the standard for broadcast 1/4″ at the time. However, your problem sounds like either burn-through (oversaturated signal adversely affecting the adjacent layer), accidental partial erasure or stretched tape (common if magnetic oxide tape is left out of the box and exposed to a heat source).
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Here’s another alternative- go to a Best Buy / Circuit City type store and look for the Westinghouse LCD model # LTV-19W3. It is a 1440×900 LCD panel with DVI, D-Sub, YUV and YRB component input. I paid $399 on sale (normally around $469). I have it side by side with a 20″ Apple display and it matches well. It can also double as a HD capable field monitor with audio inputs for playback. Since it’s not a true 1920×1080 display, it does have some scaling artifacts, but for the field work and as use as a second Mac monitor, it’s a pretty cheap alternative to a Cinema Display or the even the Viewsonic.
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There is no need to defrag any drive if using OS 10.3.9 or higher. Apple has a good article here:
https://docs.info.apple.com/article.html?artnum=25668
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Is DVD Studio Pro installed on the other machines as well?
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I agree with Dave. You probably need a mic designed for voiceover work – a large-diaphragm condenser to be exact. Check out the models offered by CAD or Marshall. They aren’t anywhere near the price of the better brands but they will come closer to the desired performance than a simple stage vocal mic. They also require power so you also might want to consider a mixer with phantom power and Firewire connectivity. That would also allow the insertion of signal processing.
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Yes, it is possible to mix 44k and 48k clips in the same timeline.
Yes, it is possible to mix 24-bit and 16-bit clips in the same timeline.
24-bit audio comes from the same place that 16-bit comes from, just with different settings, hopefully set at the beginning of a recording session.
You can do it too! Open an audio file with QT Pro. Select File>Export> and then, under options, select the bit rate from the pulldown. -
Define “decent mic”.
i.e.: dynamic, condenser, ribbon, diaphragm size, pattern, etc. or just state the model. That makes the most difference. After that, insert a compressor/limiter in during or after recording and start with the auto settings – play with the attack and ratio settings until you get a natural but full voice.
Also, get into the mic, which means get close to it so that close proxinity will boost the low end so you’ll sound big. Of course, you’ll overdrive things easier that way too. Just mess with the knobs until you like it and there isn’t any distortion.
Good luck.
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Last question first – the sampling rate of playback is determined by the output settings under audio/video preferences. It can be 32k, 44,1k, or 48k. It should match your workflow, in your case 32k.
First question next – simply import the CD track at 32k – in Quicktime Pro, Sound Converter, or other audio utility.
My question – Why are you acquiring at 32k anyway? “CD quality” is 44.1/16bit, so you are losing resolution (audio) when you import to 32k. I’m not very familiar with that camera but it should do 48k. It may make more sense to convert the camera audio to 48k – The difference in the load on your processor is next to nothing and your audio will sound better. Also, if I’m not mistaken, audio captured at 32k is not locked to video and will shift sync over time, whereas audio at 48k has the ability to be locked and will not drift.