on the new Sound Forge book.
http://www.walmart.com/catalog/product.gsp?cat=105315&dept=3920&product_id=2624222&path=0%3A3920%3A105315

Ordered.

Thanks for the heads-up

Before ordering a G2 100 ENG kit (when available) I'm trying to understand which frequency range I should select & why.

FWIW I am in New Zealand.

The frequencies offered are:-

A: 518 - 554MHz
B: 626 - 662MHz
C: 740 - 776MHz
D: 786 - 822MHz
E: 830 - 886MHz

Thanks in advance

Graham

Hi,

Im planning to make a low-budget movie, and I could need some advice. Here's the question:

You think I would need a seperate mixer, when I already have the 'Marantz PMD222'?
http://www.american-digital.com/prodsite/product.asp?p=165

Im just going to use 1 mic.

Thanks for your time!

Anyone know of a good primer for adobe audition. BTW, for those in the know, how does it stack up to soundforge (subjective I know but I am asking for an opinion. I will use them mainly for voice editing of in camera and dat audio).

Thanks

Ron Dabbs has a great book on Audition, available at Amazon, etc. or check out http://www.cmpbooks.com

I shot my last project with a VX2000, SGM2X and Beachtek DX4A adaptor and I was pretty happy with the results. Unfortunately my wife ran the beachtek through the washing machine recently (it was in a suitcase with clothes). Anyway, since I need a new beachtek I was also considering upgrading my mic and the AT4073A has pretty good reviews on this site. Which Beachtek device would be best for use with this mic. And if I stayed with the SGM2X would one of the devices with phantom power add anything more to the setup?

Best is going to be the DXA-8 that has reamplification , 48 volt phantom and limiters. The DXA-8 will allow you to limit the onboard preamps to 355 or less gain. This will give you niticeably better audio.

This rig can on'y help your audio quality even with the azden.

AT mics are a definite improvement on the Azden

Very small lav, sounds good, no visible wires - I've not seen it, just read the info on RAMPS

http://www.ricsonix.com/frame.htm

I have an AudioTechnica ATR55 Shotgun mic with a mini jack plug that I use ontop of my GL2 for a better external mic. I just purchased a shock mount and a boom pole for the microphone.

My question is, can I get an extended 12 foot cable or so (i've seen them) to hook up to the microphone and have it go directly into the mini jack on the camera, or is that a bad idea? Or should I invest in a XLR adaptor and use XLR imputs? I'm not concerned about it coming unplugged, but a difference in sound between straight use of a mini jack or the XLR. Does the minijack have bad sound when there is a extended cable.

I will have a friend who will hold the boom pole for me directed to the subjects while I film, and the wire from the boom pole will go to the GL2? Please help me if any of you have a similar setup.

I can use all the advice, Ive searched all the forums and dont see much.

Unbalanced cables should be as short as possible and made from the best quality cable. Wrapping one around a metal or carbon fiber boom makes them even worse for picking up interference and hum. Going from mini to XLR is still unbalanced (unless you use a transformer), it won't help with interference even though it is a more physically secure connection.
You can do what you're asking, but a much better solution will be to get a balanced mic with an XLR connector. Then use a transformer or BeachTek type box to maintain the balanced connection and keep the unbalanced input to the camera very short.
If you have no choice for the moment but to use an unbalanced extension cable, they are available. Radio Shack has cheap ones. Other vendors like www.soundprofessionals, the Remote Audio division of www.trewaudio, www.haveinc and others have better cables at a higher cost.

I was browsing for a wireless lapel. . .and found this one.

I know it's a low price, but it seems to be coming from a wholesaler, so maybe it's justified. . .hmm.

http://www.amazon.com/exec/obidos/tg/detail/-/B00024OPCI/qid=1090091791/sr=1-2/ref=sr_1_2/102-4914411-1267350?v=glance&s=electronics

I need a wireless lapel to film a few sections for two dvds that I'm making for a local band. . .I'm making a small documentary of the work they do to prepare, and things they do the day of the concert.

I'm only making $300 off this. . .but I'm planning on using the lapel mic forever, so I thought of it as more of an investment. I don't want to spend over $100 for one. . .and I think that narrows my choices down a LOT.

I also need it overnighted by Monday to get here in time. . .so I have to add $30 to whatever the selling price is. . .

I own a basic Sony Digital 8 trv 355e camcorder.
I plan to make short films with it.

I don't think i have noticed it before- but when i press the record button there is a slight clicking noise, almost like a SLR camera clicking as you take a picture. It's more noticeable when i go to edit and playback the footage on my computer.

I also have an older analogue camcorder, which does this too
when i was certain it didn't before. It may not be so noticeable if there is plenty of sound.

But i wanted to know if this is normal? or whether there is something wrong with my camera. It's only about 5 months old.
I don't think ive noticed it before, unless this is a new problem.


So if you guys have any advice or ideas on the matter it would be much appreciated.

Thanks

Check the menu settings. It sounds like a "feature" to let you know audibly that the button was pressed and this should be defeatable.

Since it seems the price of the K6/ME66 is climbing and more people have phantom power available now, we ought to add the AKG - C568B shotgun to our comparisons. Anybody got one? This seems to be one of the least known mics in this class. I've never even seen one...

Noise reduction and more
http://www.tracertek.com/dc_six.htm

Hardware and software - high-end stuff
http://www.independentaudio.com/CDCatalog/HTML/cedar.html

The tracertek stuff isn't bad at all, but sure isn't forge quality on the plug side. I'm pretty biased though, I've been using Forge for almost 14 years now.

Cedar has lost it's cachet. Too much for too little. We tried using it during the Smithsonian repair work, and found that Sony's Noise Redux was far and away faster and better. No where near as complicated, either.

I'm using Final Cut Pro 4, about to upgrade to HD.
Anyway, is Soundtrack a good audio software to fix, mix and normalize audio like soundforge. or is it just a simple composer not suited for this?
any comments on its usage

No. soundtrack is a music creation tool, more like Acid than sound forge.
If you want to edit audio on the Mac like you do in Sound Forge on the PC, pick up a copy of Bias' PEAK. Similar to Forge, shares some of the same shortcuts. You should have gotten a copy of Peak LE with your FCP bundle..

I just thought I'd give you guys the heads up on a new boom pole by K-Tek. Up till now if you wanted an internally coil cabled pole and you didn't have much cash you had one choice... the Lightwave GT-10C. The normal price on that pole is about $245.

K-Tek has recently introduced the KE-110CC. It's an aluminum pole with internal coil cabling very similar to the Lightwave. The K-Tek is 6.5 ounces lighter, they both share a 30" minimum length, and the Lightwave has an advantage with an extra 6" maximum length. (116" max on the Lightwave, 110" max on the K-Tek)

So I'm not going to say the Lightwave is a poor choice, but I got a chance to check out the new K-Tek and it is incredibly nice. I'm VERY impressed with it.

6.5 ounces may not sound like much, but it's nearly the same weight savings that LOTS of people pay a couple hundred dollars for by going to a carbon fiber or graphite pole... and what's more important is that K-Tek is giving you this significant weight savings in a CHEAPER pole. It's $229 everywhere.

Click HERE for the K-Tek AVALON KE-110CC (http://www.mklemme.com/pole/Avalon.html)

BTW The crappy pictures on the K-Tek site don't do this pole justice!

Oh yeah, the K-Tek cabled pole terminates in a Switchcraft XLR jack at the bottom and a Neutrik connector at the mic... both of which are TOP industry standards for quality.

I gotta' give props to Dave Fisk at Coffey Sound for showing me this pole! I still went with the graphite version... but I couldn't believe the price to quality ratio of the aluminum one.

I would tell you that the Light Wave Systems boom pole I have is a bit sad. The locks fall apart.

Do I leave in the AA battery in all the time with this mic?

Thanks

If you know it will be more than a day or so between using the mic, take it out. This is more so it doesn't simply get forgotten totally and left in, possibly leaking at a later date.
A new battery will last about 50 days, so a few hours here and there won't matter while you're on a project.
If it's important work put in a fresh one. If you're a stickler for detail then take it out at the end of each day to minimize any chance of leakage or extra drain.
I always inspect and test new batteries to make sure they're actually good and not already leaking. And one of my pet peeves is keeping the batteries and contacts clean. Fingerprints can screw you up at the worst possible times...

Howdy gang:

Situation: I find myself desiring to create a portable/field sound effects recording rig. I've done a little bit of searching on the forums here (as this place has become my default research zone) and have noticed that I think I'd like some up-to-date opinions.

Definitions: I say sound effects to be anything from recording silent ambient noise, to rustling leaves, to car engines revving, to showers spraying, to . . . to . . .

What I'd like to accomplish: In an effort to boost the audio quality of my movies that I make with my XL1 setup, I'm wanting to record extra sound effects in the field after principle shooting. I currently am recording dialogue straight to my camera at 16-bit 48kHz but I want to record sound effects later in at least as equal quality. Oh yeah! And, I want my work flow of taking audio recorded from the field and dumped into my computer to have the path of least resistence -- i.e., easiest way possible!!

Stuff I have:
a.) Beacktek DXA-8 adapter (I use it with my camera)
b.) Senn MKH-60 mic
c.) Senn Me66 mic
d.) Lots 'o cables
e.) PC with okay sound card. Input audio software can be SoundForge or Adobe Audition.
f.) <$400 on a portable, field recording device.

Questions (Yay! The fun stuff!)
1.) What types of mics have you guys used to record sound effects? Do you suggest these mics? Why?
2.) Novice Question: Any reason why I shouldn't use shotgun mics for sound effects recording?
3.) What kinda device/media should I record on? I've read on previous posts about different kinds of portable field recorders that use batteries: Things such as portable DAT and miniDisc recorders. Some of the discussions, even though they are kinda old, seem to be still relevant. Any news on whether or not folks are moving away from DAT and I should be looking at these palm-pilot-made-recorder stuff?
4.) In your experience is the recorder that you've worked with have a pretty good "path of least resistence" to getting your audio into your editors? I'd like to have something easy, so I can run out the door record some sounds, run back inside, snag 'em on my computer and add 'em in the movie.
5.) Big Novice Question: If I get a portable field recorder (say, a DAT or something), am I able to rig up my DXA-8 to use it's pre-amps/limiters without there being any line troubles?
6.) Any questions that I should be asking but I'm not?

Let me know if something needs clarification. And, thanks for the help! You guys rock!

Regards,

Kyle "Doc" Mitchell

Thanks for the advice. I am not so much looking for water proof but something that will hold up to the salt air. I checked otu the AT and athe looks like the one i will go with.

hey guys

Just got a UHF wireless kit tonight to film a wedding tomorrow. I've been practising with it for the past hour (my poor kid brother was the bride). THe kit is a simple receiver to the 1/8inch jack. No XLR's etc... I have basically 2 questions

1) I own a GL2 which i'm using with this, the audio seems to be blown out a bit.. i.e when talking, the levels go red. And i've even played with the audio adjustments on the trans and receiver. Is there any way to adjust the audio levels within the camera, short of turning on the ATT?

2) I do wish to record the wireless input on a single track and then using the camera's onboard mic to capture ambient sound. Would that be possible on the GL2? and how?

I know these questions have probably been answered in some sort of capacity or the other, and i've tried searching but haven't been able to find anything. Anyone have any suggestions, would greatly appreciate it. Cheers!

Vishal

Sounds like you need to set the attenuator. 3.5 mm connections are common, and work fine.
Regarding using mic for one channel and built in for other, there is no safe way to do this. You can insert the channel half way and if the connector is "just so" you can get audio from both, but no way is it safe or reliable.
Good luck with the event!

I'm having issues on trying to get the right equipment to record audio for my film projects. So this leads to my question, can I use a laptap(powerbook) with logic or protool to record satisfactory audio? The only thing I figured would hurt my audio would be that I would have to rig some kind of XLR adapter or something. Any insight? and what is the be the Best recorder out there for overall audio recording. I need something for int/ext/field shoots(portability is key).

There's a current discussion going on next door (http://www.dvinfo.net/conf/showthread.php?s=&threadid=23164)

At the top of the page click on search. Type in power book and limit the search to the "Now Hear This" forum. There's a bunch.

This weekend, I shot a wedding in the sprawling metropolis of Ophir, Utah (DSE is probably the only other person on the board who knows where that is). One of the guys on my crew brought along his new Sennheiser Evolution G2 wireless system. We used his system to mic the judge, and used my Samson UM32 system on the groom.

The difference in quality between the two systems was absolutely amazing! There was an acceptable amount of electronic noise on the Samson system, and I got reasonably good audio. The G2, however, was crystal clear. There was no distortion, no interference, and no noise.

I got on the phone this morning and ordered a system. They're currently backordered, but I wanted to pass along my results with the G2. If you're in the market for a new wireless system under $500, this is definitely the one to get.

Rick

When using headphones, to achieve the best results, should the volume on the headphones be as loud as it can be, or should it be at like a 7 out of 10. I've not done enough field testing to really know, so thanks in advance for the advice.

P.s. I'm the proud father of a Canon Gl2

This is my setup

http://www.droptodesign.com/test/camera

I wouldn´t turn up the headphones all the way up. Even if they sound too soft, a sudden loud noise (surprise cymbal crash, a dirty connector) could give you an instant headache.

Someone once told me that 85 dB was the best volume for monitoring. For me, I keep it between 5 and 7 out of 10.

Hope that helps!

yesterday someone asked me what batteries i use for my 100 evo...well a few years back i got stuck with sanyo batteries that i have never heard of, i decided to put them to the test loaded them into my evo and let them run

run they did about a little less then 6 hours before the light started flashing...since then i dumped the expensive duracell and engerbunnies in favor of these amazing little finds

i thought it was good advice so i decided to pass it on, you can find them here, but i found them at a local store for 2 bucks

http://www.tagaccessories.com/singleproduct.asp?search=49026

thats much better
http://data.energizer.com/batteryinfo/application_manuals/9v_lithium.htm
for long day shoot it holds about 3 times more then regular alcalain
dont know wher do you shop your bateteries but duracel and energizer are about 1.5$ if you are buying large number
there is a good and relible place to ask

http://atscomms.com/Batteries/batteries.html
ask for marty or just shout on this board :-)

I have tried to increase my knowledge about miking, preamps, limiters, and the limitations of the Sony audio components on their VX2000 cameras.

I am a serious amateur and am debating between purchasing the DXA-8 unit mic versus considering a Mix-pre or MM-1 unit from Sound design. The latter, possibly with a mod of the camera, by Greg Winters, has been recommended.

I think the DXA-8 would be a simpler choice for the present as it is designed to fit right under the camera and the price is more in line with my budget.

Can those of you that are using the DXA-8 with a Sony system comment on whether there are significant noise issues and whether these make the setup suboptimal?

I will plan to get the hypercardioid Oktava MC-012 mike as it appears to be well recommended for general purposes.

- Thanks so much...This is a very well-informed group of enthusiasts and professionals,


Marc Safran
Syracuse, NY

Does any one know where I could find that classic slow motion music? I don't know what its called, and I can't sing it for you because this is the internet (too bad for you), so instead I will try to describe it.

So this song plays in comical movies when there is a big important slow motion scene (such as the end of a race or when someone is diving to stop a falling object). I have been looking for it for some years now and never found it.

If anyone knows which song I am describing or where to find it, any help is much appriciated. Thanks!

Chariots of Fire?

I'd describe it to you but this being the Internet and all... umm...

EDIT: Here we go:
http://songs.allofmp3.com/mcatalog.shtml?group=1760&album=2

I'm about to buy the Audix UEM81s shotgun...mic. I wanted to go with a Sennheiser, however mics are terribly expensive in South Korea. I have a couple shots coming up and want to hear what people are saying about this mic or any suggestions for a good supercardioid shotgun.

Tony

Hi List,

our audio guy is leaving for San Fran. The job is now posted on The U. of Michigan website: www.umich.edu

Do a search for jobs or employment. We're looking for a person with a great
attitude, experience in classical and jazz recording, wiring, music production,
protools, Mac based computing systems, video, and all the other dozens of
skill sets that engineers have to know to do a good job.

Pay is based upon experience, but good bennies.

Employment is scheduled to begin around Sept. or Oct. '04.

I have a 12 channel\2 bus, a 16 channel\4 bus and a 32 channel\8 bus. EXCELLENT - Go MACKIE

I own a Mackie mixer because it is cost effective but not by any means the best out there.

Hey, Y'all,

Our Moderator Douglas Spotted Eagle is picture on page 78 of the July 2004 issue of "Electronic Musician" in the article "Look Through Any Window: Seeing sound from the inside out." If you have the issue, check him out.

Gints

I just received the media packet from the Outdoor Channel in hopes of providing them with some wildlife footage. Their audio requirements are that there is no audio recorded on channel 1, only on channel 2. To me, that seems ridiculous. Doesn't that take away the ability of the camcorder to record in stereo? I did some recording only on channel 2, burnt it to disc, and then played it on a friend's dvd player. You could barely hear the audio even when the volume on the tv was turned completely up. Does anyone know why they would have that requirement? If not I will call them on Monday.

It seems reasonable. They are going to do something else with the blank channel. TV isn't really stereo for the most part anyway.

If you couldn't hear a single channel, then either your recording or the transfer wasn't done correctly.

Damn, I didn't even know I was in there, and I subscribe!

I was wondering if anyone can fill me in on the difference between Sonicfire Pro v.s. the Quicktracks version of the software. I know that Quicktracks is designed as a plug-in for Premiere Pro, but does it have the same features as the Sonicfire Pro version? In other words, if I was using Premiere Pro, should I use the less expensive plug-in version, or is there some benifit to using the more expensive Sonicfire Pro version? Or is there a difference at all?

Thanks in advance.
Bob

Of course, you'll expect the shotgun to do better, but here is a short clip of one vs the other.
http://www.vasst.com/streaming/mictest.wmv
(This is NOT from the "Now Hear This" DVD)

Thanks for posting that Douglas... clips like this are educational and appreciated.

Beas and I have focused mainly on the sound of one mic or another, but I've thought it would be interesting to demonstrate a particular technique.

Bravo for the multimedia demo!

http://www.dpamicrophones.com/
Looks really interesting, and they claim 60 mph before it needs anything else. They claimed at NAB that it would be shipping in June/July of this year, but I've yet to see anyone review it. (I've asked since April)

Anyone know of a place to find one of these? I've looked around for a few years off and on, never found a working one. I'm guessing I'm gonna have to find a non-working one and stick something else in it. Mostly for a prop, but would prefer a working one.
If you don't know what they look like, http://www.poupart.com/us/andy/vintagemics/micgallery/pages/TurnerS34X.htm