berniebeaudry

Piggy backing on the winter apparel scenario coming up in the colder climates. Fleece makes a really good sounding wind barrier. I did a skiing shoot years ago and I put the lav in the neck gators both talent were wearing. Twenty mile an hour winds and downhill skiing. What could go wrong? You have to test to make sure you're not muffling the mic, but if you do it right its pretty transparent. BB

If it is a real fire I'd suggest using lavs in addition to the boom. From experience the pops and crackling from a real wood fire can be very hard to minimize and properly placed lavs with give you a little more isolation. Bernie

Such smart people we have in this forum!

Interesting that the noise floor is an issue being that the specs are almost identical between the the MK4 and the MK41. I don't quite understand the MixAssist reference. Is it the combination of the MK4 and the Cut 1 that increases the noise floor? Or is the wider pattern picking up something environmentally that the MK41 isn't? Just got me curious as I might want to add that capsule someday. Trey, that interview sounds really great!

Along the same lines. Local TV news depiction. Newsrooms full of people, Fisher boom, mics clipped on wrong etc., etc.

Jerry does great work!

Glad to help! If you get stuck DM me.

Hi Michael! Take another listen I just improved it. So sorry for the passing of your mentor/friend at NBC! BB Thomas, Did you noise reduce this audio, or was it this clean to begin with? The rustle really wasn't that bad. More in between the words. A good fill edit might have been able to help as an alternative. What version of RX are you working with?

I just downloaded your files and will take a listen and an attempt to see if they can be fixed. Really not bad. Here are the fixed files. DeRustle got the rustle, spectral repair, got the low end thump that was more apparent after the rustle was gone, and declick for the click in the second file. RX6 advanced. I just redid the first clip. There was a little rustle left. I used a more extreme setting for derustle and selected more of the phrase and it also took care of the low end thump. TEVIN_366_Nothing_extracted_CU.wav TEVIN_366_Fire Extracted_CU.wav

You're welcome Javier! I do that type of clean up as a service in my home studio when I'm not doing location sound or sports A2. I saw this as a learning challenge as I've not encountered that type of noise before. If production wants to clean that up let me know and we can chat about it off line.

I used a different color option and zoomed in further for the pulse close up so they're easier to see.

As Eric said, your wireless must be picking up something that is specific to the locations you were in. It could be environmental or electronic or a combination of both. It's very obvious on the longer piece you posted. Looking at it in a spectrogram in RX 6, its a regular pulses that are in most of the vocal range. Not very loud but certainly noticeable. I did a quick test with the declick module in RX and it was able to get the pulses out without much damage to the voices. I did screen shots so you can see what the pulses look like before and after declicking. Here's a close up of the pulses:

Check with post to see if they feel comfortable painting out the boom in the wide shots so you can get closer coverage. There's a few articles and demos on line that have described the process.

I'm using two SNA600a with four Lectro LRs. Two in A1 and two in B1. Reception is really good. Better than whips and on harness dipoles.

Good point. I only have the mic, no Cut-1 or Cut-60

I need to do some tests with mine and see if I'm having an issue with wind noise. I'm using it with a Schoeps MK641 with a Rycote Invision mount. I did have one instance with just the bubble, no fur, that concerned me. I don't recall the circumstances only that I felt I shouldn't be having any wind. I'll do some tests this week and report what I find. I usually just use this mic indoors for interview, but I bought the spacer so I could quickly go from indoors to outdoors, and if I was needing to do quick boom swings.

Actually Audition is pretty capable and if used in tandem with Premiere its a decent workflow. He mentioned he's using Audition to edit the audio.

Just looked up the price for the six pack of the mounts. They come in three left hand and three right hand configurations. Its a great idea but $300 for these is much more than I expected.

Never clip works at the input of the analog channel as Craig describes. Gain structure is still important as its possible to distort the output busses and/or the card tracks if the signal is too hot going to them and/or hit the compressors too hard. If they are using the input compressors and hitting them too hard that's another place distortion could be coming from. On my Nomad I don't use the input compressors at all, but do use the card and output compressors. As Craig noted it would be best to contact Zaxcom directly in tandem with the mixers on the job. Out of curiosity how do the iso levels and mix levels look? If you zoom into the waveform are the peaks squared off, or do they look normal but sound distorted? I've worked some very loud events with my Nomad recorder and I've rarely if ever had distortion occur within the device.

Thank you TVPostSound.

Thanks Ed!

Thanks Philip, That was my plan. If he's shooting actual 60 which I doubt, I would do 30. I'm fairly certain its NTSC. Would his camera still take a jam from me? I would assume I would want non drop code for this. Yes?

I have a shoot on Friday that will be using a Panasonic camera (some flavor of eng style rig) I'm finding that the person I'm able to speak doesn't know much technically. Info is hard to come by i.e.: exactly what model the camera is. As for frame rate they told me 720/60. This is for US television so I'm thinking the 60 is actually 59.94. So if I want to jam the camera is it possible? Would I use 29.97 on my Nomad? Drop or non drop? I'll have more info on the day of, but this is a traveling group and it takes forever for them to get back to me. Thanks!

I've used ERXs on Amira's and Alexas with no problem. As you say, what could it do to a camera anyway? It was a two day shoot. Did you look to see if the scratch audio from the ERX was recorded properly on the camera either of the two days? If it was fried from the time you plugged in the ERX there would be no audio on those files. I'm sure you sent tone and set levels on the camera at the beginning too. The issue would have shown up then as well. So he had no shoots that needed audio for a month? Sounds suspicious to me.