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Old June 7th, 2007, 11:03 AM   #1
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Suppressing crazy sibilance, TR-50

So . . shooting a reality/doc, and the host's S sounds are really prominent. My limiters go nuts even when her voice is not that high. It sounds a bit like a burst of static and I'm worried the post sound guy is going to have a lot of work on his hands. I have the stock windscreen on the TR-50 I'm using. Is there anything I can do now? Is this the type of problem that typically has to be mixed out in post?

Thanks again, all.
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Old June 7th, 2007, 03:02 PM   #2
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Abe,

Some folks (mostly women) can be WAY over sibilant.

There are de-esser plugins that help. If you look at the wave form, you'll see very, very, dense waves.

Also, if you can select them carefully and drop the level by 12 dB (or more) just for them, you might be OK.

Regards,

Ty Ford
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Old June 7th, 2007, 03:59 PM   #3
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Quote:
Originally Posted by Abe Dolinger View Post
So . . shooting a reality/doc, and the host's S sounds are really prominent. My limiters go nuts even when her voice is not that high. It sounds a bit like a burst of static and I'm worried the post sound guy is going to have a lot of work on his hands. I have the stock windscreen on the TR-50 I'm using. Is there anything I can do now? Is this the type of problem that typically has to be mixed out in post?

Thanks again, all.
Where is the mic being mounted (distance and location from mouth) and what method of mounting is used (Vamp clip, regular clip, or hidden under clothing)? And what Equipment is being used throughout the signal path (wireless, mixer, receiver, camera)?

My initial reaction is that I'd want to try a different mic that has more of a "flat response" characteristic. Of course, you can deal with the problem in post...but I'd want to improve the front end audio as much as possible. Knowing more about your setup might give us a better clue on how to improve the front end.
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Old June 7th, 2007, 04:21 PM   #4
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Ty - agreed. I'm glad you think it won't be too much of a problem in post. Is this a typical situation for a post sound mixer?

Jim, the mic is usually on a regular clip about 6 inches blow the chin, in the center of the breastbone. It's usually under one cotton shirt or equivalent. Signal path is TR-50 -> Sennheiser G2 -> SD302 -> Sony HVR-Z1U. I've been using the Tram because I think it's not as bright as other mics, but I'd love to hear your suggestions!
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Old June 7th, 2007, 05:46 PM   #5
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Originally Posted by Abe Dolinger View Post
...Jim, the mic is usually on a regular clip about 6 inches blow the chin, in the center of the breastbone. It's usually under one cotton shirt or equivalent. Signal path is TR-50 -> Sennheiser G2 -> SD302 -> Sony HVR-Z1U. I've been using the Tram because I think it's not as bright as other mics, but I'd love to hear your suggestions!
Things you could try...

1) Tape the mic directly to her chest between the breast's (top) with surgical tape.

2) Vamp clip the mic higher closer to the throat under the chin.

3) Another mic....Sanken COS 11 or Countryman B6

4) Lower the sensitivity of the Sennheiser transimitter

5) Don't use low-cut filter on 302

6) Give talent lots of water
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Old June 7th, 2007, 06:57 PM   #6
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Along with the other good suggestions, you might try something like a Shure ECM-44b. It's has a LOT less top end sensitivity then other Lavs (and it's a LOT cheaper too)

It's also generally less sensitive. Which can be a good thing when you're close micing a talent with a lav.

It's often my "go to" lav for splashy sounding talent and for multiple open mic situations where sensitivity and reach can lead to cross-talk.

It's a bigger capsule, so a little harder to hide, but the sonic characteristic might help you out here.

FWIW.
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