berniebeaudry

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!