jgbsound

That's pretty damned cool Mike. I've always wanted to go to Antartica! Cheers, John

Thanks for the suggestions everyone. I have attempted Field "Surround" Recordings using what I have: the Schoeps CMIT5u (for the direct "center") 2 omni Sanken COS11d's (for the +/- 45degree sides) Zaxcom Fusion 12 I also have a Sanken CUB01 Boundary Mic that could be used in the mix. My approach has been rather untested and more just by feel, but in the final mix that I used for the previous film, things worked out okay. However, I'd like to be more consistent on my approach. While that Soundfield SPS looks pretty sweet, the Core Sound Tetramic is more within my price range and it looks like with just a few breakout connectors, I might be able to swing it. I was reading about the best possible mic configs for fully enveloping sound and it seems that the further the spread between omni mics, more enveloping the sound feels. From my own attempts, I've also found this to be true. The best part is that I have multiple inputs (8 analogs and 8 digitals) on the Fusion, so I could conceivably record two separate surround setups simultaneously. John

Howdy Gents, So I'm potentially going off in April to Brazil to shoot part of a documentary and I was thinking I'd like to grab a bunch of surround Ambiences of the Rain Forest, and multiple other locations that I'd later use in the final mix (I'm also the post editor/mixer for these films. The budget precludes the production from actually ponying up for the cost of a really nice surround config such as Schoeps OCT Surround setup so I'm trying to do one on a shoestring budget that I could absorb the cost on my own. What have you done to achieve decent quality recordings that you're happy with? I was thinking of building my own mic tree mount system then buying some reasonably priced mics to populate it. Any input would be greatly appreciated! John

Hey Guys, I'm always looking for production audio work and would greatly appreciate anything you can throw my way. I'm non-union. Here's my gear list: Fusion 12 2x TRX900LT with both COS11D lavs and B6 lavs Smart Slate Schoeps CMIT5U Sanken CUB-01 boundary mic 5x IFBs (Zaxcom) QRX100 Stereo Receiver IFB100 Transmitter I'm also listed on IMDB: http://www.imdb.com/name/nm2968276/ Thanks!!! John

Correct. As an edit to my previous comment, I actually have the COS-11D s NOT the original COS-11 Didn't mean to steer anyone off course.

Agreed. I only use B6s when the COS11is impractical or has too much fabric rustling noise or other reasons. Sent from my iPad using Tapatalk

i too use them on TRX900s and they work just fine. I also have COS11's and they too work great. I usually only bring out the B6's when I need to mic in plain sight (behind a button on a shirt), or water getting onto the mic might be an issue. J

They are the screw in cos11s. I tried creating a strain relief by doing a loop on the mic cable near the connector and taping down it to the transmitter body. Didn't help. These are all great suggestions. I'll give each of these a try and report back which one ultimately solves my dilemma. Thanks everybody, John

Howdy everyone, I have a couple of Zaxcom TRX900LTs and I've noticed that they often break connection with the microphone if the mic pack is placed in a constricted place (such as a pocket). Originally I thought that the LEMO connector on the mic was the problem. But after getting the mic repaired, the problem persists. Soooo, I sent the transmitter into Zaxcom to get the connected replaced and it's still happening!!! Has anyone had a similar problem? Is this a problem that is common to Zaxcom TRX transmitters and should be considered a design flaw? What did you do to fix it? Thanks for any help you can give me, john

Thanks guys I put in a question to the avid community as well. I'll give these ideas a try! John

Thanks for the suggestion Angelo, I was actually trying to avoid that. I just want to listen to them through the browser before importing. I have copy files upon import turned on. My question is, why the folder won't show in the global workspace browser is my question. Isn't that the purpose of having the separate browser windows? The project browser just opens from the project's folder, while the global browser will be able to look at all the drives? Why the folder isn't showing up at all leads me it believe that this is a design flaw in ProTools. John

Hey guys, a quick question. I'm working in an animated series and we had a few re-records for lines. So I created a new folder and copied the new takes into it. But when I pull up either the workspace or project browser the folder and files don't show up. I can search for the files because I know the naming convention. But i can't figure out how to refresh the file list. Any suggestions?

Thanks guys. I think i have it now! John

I think I understand better now. Thanks guys. I guess I was using them correctly, but purely through intuition (okay mostly through trial and error), but was always curious about the difference. Thanks!

So I'm wondering if someone could explain the fundamental difference between multi-mono and multi-channel plugins in Protools? From what I understand the multi-mono plugins are good for unlinking the functions within the plugin and treating each channel to different values separately. Whereas the multi-channel plugins are good for "correlated processing" (one process that relies on another in the same effects chain?). But doesn't this happen with either plugin type, by the fact that you have one plugin inserted above the next in the chain? When would this be any different? The only example I could think of is side-chaining. Is my thinking wrong about this? Could you give me an example of how you would use one over the other in a particular situation? Thanks!

I asked the company who makes ARC2 and the software isnt calibrated to do 5.1 configurations. Thanks Tom. i also read the article by Ethan winer and his suggestions are sound. At this point, I'm thinking I am going to just treat up the room to start, then see if my results improve. Possibly do a sweep of the room and run some pink noise and do a EFT /RTA analysis to see what still needs to be addressed. John

Howdy all, So in my quest to find a reasonable costing solution to tuning a room (after treating it of course) Chris over at vintage king suggested this software. Has anyone used it before? If so what were your results? http://www.ikmultimedia.com/products/arc/

So I was talking to a buddy over at Vintage King and he recommended this. Any thoughts on it? From the demo video, you first run the test on the room in multiple mic positions, then add in their conforming EQ into your monitoring chain, and it does the compensation for your particular environment. Pretty nifty, if it works... http://www.ikmultimedia.com/products/arc/

Thanks for the referral John. I bought the book Marc recommended and am trying to absorb as much as possible about this very complex subject. God knows I love a challenge. When I get to a point that I'm stumped ill reach out to professionals. John

Thanks Marc & all, I've actually already calibrated the speakers, with an spl meter, to78db C weighted. I've also compensated for the.boost by consumer home theaters by boosting the sub +6-7dB higher per the Dolby spec. I am interested in tuning the room actually. Ill look at that book you mentioned Marc. However, I may just find an acoustical expert to help me as it sounds like pretty heady stuff. Well this is at least a good starting point. John

BTW: I did do some research and found specialized software that might help, however, I'm unclear if this is needed or just a nice tool to have. http://realtraps.com/art_etf.htm

So I've SPL'd the monitors in my room but now, I would like to calibrate the frequency response of my speakers in my studio. I'm using the Yamaha SM series monitors in a 5.1 setup and was wondering how you guys tweak highs/mids/lows so it's tuned appropriately for your work area? I'm assuming you need a spectrum analyzer, a decent mic, a tone generator and a need for a more honest representation of what your mix will sound like. Is it as simple as sending out tone from the tone generator in Protools, looking at it on the spectrum analyzer as you shift frequencies and tweak the low/mid/high switches on the speakers? Or is there some other special way to tune it? As always I will defer to those with more experience in these matters.

As so many have said before: Definitely the notch EQ will help you out. If you can hum the unwanted pitch you hear, you can usually notch it out without too much trouble. That said, if the frequency(s) intersect(s) with the spoken tonal elements of the dialog, you will be altering the sound of the voice somewhat. RX2 advanced is an amazing tool, and can help immensely, but if you don't know how to handle the application, you can ruin your sound pretty quickly via overcooking. Compression helps even out the dialog so it's easier to understand (makes the quiet parts louder, the louder parts quieter), but this too, if used to excess, can create a flat "wall of sound" which is not natural sounding. Personally I'd find someone with some experience in processing badly recorded audio, and see how far they can take it. Then decide from there how to proceed. Their results will most certainly be better than your attempts.

Sure that sounds fine. And thanks for the opportunity! I'll PM you with my info. John

Awesome! Thanks!!! I would love to. If you have something coming up this next month, that'd be ideal. This month not so good.