Influxaudio

Thanks for the replies guys - ill be checking out the mkh50 and schoeps this week.

Hi guys . So it Looks like my plan of flying under the radar for a bit isn't going to cut it here. My name is Kevin Bazell, based in LA and have been working in music, software , sound design for many years in the electronic music world. I do quite a wide variety of work ,including DJing and running a software company, AudioRaiders which makes plugins for music producers. I never had the opportunity to go to school for anything I learned , just like to dive in , ask questions and hopefully have something useful to contribute at the end of the day. The majority of my music is synth based and instrumental stuff so have not had much experience with recording. I decided I wanted to fix that and as I've always had a passion for film -here I am getting into location sound. For the record , I came here asking questions about things I dont know but would like to learn - I'm not trying to pretend to be anything I'm not ,I greatly appreciate all the help and advice I got from some. To the people who seemed annoyed but gave the reasons,fair enough I've taken that on board too. Hopefully that straightens things out going forward.

Thanks to everyone for the replies and advice !

Hi Robert. It would be a low budget web feature. have lots of experience in audio work but little in location sound which I was I was asking in the first place ! Theres definitely no budget for Boom op unfortunately. Its my understanding they would have a 1st Ac , am curious why you asked that. Looking to learn and make friends here, as stated in my other reply Influx is what i go by. Thanks for your time !

Hi Robert, People generally know me know by Influx, Appreciate the advice - I will do more searching and less posting from now on - just figured it would be a good way to get to know everybody.

I think I have an idea Olle and it usually starts with "It depends"

Hi Vasileios I think I know what you mean but would you care to elaborate on that please ? Influx

Thanks very much guys , I will definitely try all of them and see what I like the best !

Hi guys I have a job coming up where there isn't a budget for a boom operator , recording 2 actors sitting relatively close together. I'm thinking about using two Mkh416 on C Stands directed at each actor - Are there any issues that I should be aware of , such as phase for this kind of operation. Thanks Influx

Thanks Old School I've heard great things about both mics, I'm curious to hear how different they are to the Mkh416 as the specs say that all 3 are considered super cardioid ? Why would you choose one over the other ? thanks Influx

Hi Guys Up and coming location sound guy here ! I'm doing a variety of work such as interviews, commercials, online content and hopefully film sooner or later. I currently own a Sennheisser mkh416 which I've been using for both indoor and outdoor shoots. I know I'll want to add a couple more mics at some point so I have a wide range of options I was wondering if anyone cared to share the mics you find indispensable in your arsenal and for what reasons ? Thanks ! Influx

@ Cryll - Glad to know someone else has the same gear ! Those settings seemed to be the magic combination - Many Thanks

@senator I bought Jay's book Thanks

Thanks for all the replies and great advice guys. @ Senator Its exactly gain staging that I'm concerned about - I would have thought af out at 0 was unity on the receiver and if I needed to boost the signal (I don't need to that much at these settings) l I could do that with my mixers high quality pre's. @Vm Its hard to pinpoint exactly what the issue is, its not distorting or anything - maybe its just I don't like the sound of LAV's that much. @Nick you saying +0 - +6 on the receiver I'm guessing ?

Hi Eric Thanks for your reply . Could I ask why you attenuate both Rx and Tx instead of one or the other. Thanks influx

Greetings ! I have recently started using a Sennheiser g3 wireless system for recording Lav mic's into a SD 664. I wanted to ask others here what settings are working best for them as I'm not 100% satisfied with the quality of signal I'm getting. I currently set sensitivity to just over half the range on the transmitter (in case the talent talks louder than in the sound check) and making sure I don't see the AF Peak light at all. Then on the receiver I have the AF Out settings at 0 (with the idea that I'm not adding or attenuating the gain on the sennheiser) Then I'm coming into the 664 at Mic level and have my Gain Trim at 12.00 (half of the range) What do you guys think of that ? Also I'm using a Sanken Cos 11mic and find that even with a pop shield accessory I sometimes get a lot of siblance - is that normal and to be expected ? Really appreciate any advice Influx

Greetings ! I have recently started using a Sennheiser g3 wireless system for recording Lav mic's into a SD 664. I wanted to ask others here what settings are working best for them as I'm not 100% satisfied with the quality of signal I'm getting. I currently set sensitivity to just over half the range on the transmitter (in case the talent talks louder than in the sound check) and making sure I don't see the AF Peak light at all. Then on the receiver I have the AF Out settings at 0 (with the idea that I'm not adding or attenuating the gain on the sennheiser) Then I'm coming into the 664 at Mic level and have my Gain Trim at 12.00 (half of the range) What do you guys think of that ? Also I'm using a Sanken Cos 11mic and find that even with a pop shield accessory I sometimes get a lot of siblance - is that normal and to be expected ? Really appreciate any advice Influx

Great advice from all - Thanks very much indeed !

Thanks both Phil and Robert your answers really are very helpful I appreciate the quality help from busy professionals such as yourselves ! A couple of points I wasn't 100 % clear on @Phil regarding the 20 seconds of pre roll , would it be advisable to have the time code running during that time . so the music would start at 00.00.20 @Robert I believe the chipmunk effect is what they're after for this job. if thats the case am I right in thinking I only have to speed up the audio ? What do you use for that . Also are these ratios correct in your opinion ? 24/23.98fps - Regular speed 36fps track 148.81% faster 48fps - 200.80%. faster Thanks very much guys, IA

I have pro tools, dv tool kit and a smart slate -

Which is why I'm coming here for help sir ! I'm just looking to add timecode starting from 00.00.00 and running at 23.98 / 24 FPS can anyone tell me how this could be done in Pro Tools or Logic please ?

Thanks Senator I didn't see any tips in those previous posts about actually generating the timecode for the audio tracks or what software to do it in. IA

Hi Guys . I hope this is the right section to post this question ! I have a job coming up where i'm required to do playback for a music video and I need to add timecode to a music track the director sent me. I believe its standard to have time code on one channel and the music track on the other but I was wondering how I would do this in either Pro Tools or Logic ? Also I know In certain cases I'll want to speed the audio up so they can get that slow motion effect I was told that if they are shooting at 24/23.98fps, the 36fps track needs to be sped up to 148.81%, and the 48fps at 200.80%. What is the easiest and most accurate way to do this ? Any help would be very much appreciated. Thanks IA