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Alex C

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About Alex C

  • Birthday 01/01/1
  1. My mistake. I'm working with 2 units. the 552 and the red.
  2. Well my experience level recording may be low, but I've been playing music for 16 years, and I know the importance of withstanding cables, but in the guitar world, having had several die on stage. The incident I'm referring to with "I know better:" On set we had a big issue with the audio getting to my mixer. The signal was reaching but the sound quality was scratchy and dampened. I swapped out one of the cables with one sitting in the bottom of my audio bag and BOOM. So we got rid of that cable, of course, but I was in favor of an overhaul. I don't want that happening again with limited resources on set. Hope that clears things up! Alex
  3. I definitely am trying. It's a lot of info, (dumptruck amount) to take in when you're kind of thrown into a one-man department like I have. I'm playing 3 roles essentially and need any help I can get =)
  4. Can't afford audio eng school. The internet is my school.
  5. I think something just clicked. See? --> *click* So on the 552 (which sports a digital meter), I'll be running -20db tone, and my dialogue in the range -20db to around -8db, as to not get to close to the brick wall, which on a digital meter is 0db. So why on Earth did the Audio Gods choose 0db for digital to be a max, and 0db for analog to be middle range?
  6. So I guess there's something I'm missing... For some reason a hard concept for me to latch on to. When I'm micing someone on set, and they're just speaking their lines, where should they be hitting on my scale? -20db? or is that just where I should aim for ref tone to the red? I'm sorry this isn't clicking like I'd hope.
  7. That's very interesting. So he didn't know the cables were different, but he KNEW there was something off? I may look into building my own. I've never tried, but I'm sure there are umpteen tutorials and articles on the matter.
  8. I'm talking standard XLR. To my limited understanding quality of cable affected clarity of sound. I'm probably wrong, but you both make a good point.
  9. Hey Folks. So I'm trying to convince the boss that we need some new shiny cables for our audio pack. The analogy I like to tell him is using bad cables is like eating a steak with a plastic fork. He insists our cables are fine, but I know better... I need a better argument (and brands) for new cables. JW... you're my only hope.
  10. Hey Folks! So I'm looking for a little shed light on my question of "What is the difference between Line-Out and Tape-Out? Why are they there? What do they do? In what instance should I use which?" Many questions, so little time. Well, no, that's not true. Also, my not being a 25-year pro, I would totally appreciate a "simple" version of this no-doubt lengthy answer. Gracias, Danka, and Thank You Alex C
  11. So I'm really banking on the "no stupid questions" slogan of this forum. So the 552 is 5-channel. Which I get, five mics, 5 inputs for mics, so on. But I'll be linking straight to the RED via stereo 2 channel breakaway cable. So if I record my mix ON the 552 will my editor end up with 5 channels (or however many I use) in Final Cut? And will he only have 2 if using the audio that's linked to the R3D footage? If so, what determines which channels are mixed together? Just pans? Thanks! Alex C
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