9
But inevitably I end up with a voice track that is clean but now has lost the natural resonance
This is what dialogue mixers spend years, decades, perfecting - as well as dialogue editors, for their properly-prepared tracks make or break a dialogue mix.
In short, I recommend being more open and accepting of noise. Used decisively an treated with respect, ...
9
As the mic is mounted on a stand a pop-filter would be a very easy solution.
If this is visually not acceptable (as it's a video project) you could think of adding a physical barrier between the person and the stand. For example a (DIY version of) this barrier.
9
If you use a new crappy cable, it's going to sound worse than a well-made and cared for high-quality cable that's 10 years old.
But by the same token, a well-used workhorse cable that's been cared for properly for 10 years might not sound as good as something studio-grade.
Age really has nothing to do with it. Quality, construction, and care are what ...
7
If it's TS, it's unbalanced.
7
Here's what I'd do, as a dialogue editor at heart myself:
cut the scene across a set of DX A-F tracks or more, if needed, but I shoot for using only A-F
split the 'angles' out according to the noise/hum characteristic this may be something Purcell's book didn't address, and is also why I consider his book to be a great introduction to dialogue editorial, ...
7
As heard within amplifiers, the frequency can be 100/120Hz (2nd harmonic of 50 or 60Hz) because of the rectification process when converting AC to DC to power said amplifiers. There can also be a component that is the third harmonic of 50/60Hz as well and this is magnetically "coupled" from the AC transformer inside an amplifier.
There are all sorts of ...
7
I'd be inclined to think it would be from scratches/dust in the optical medium that sound was carried on in cinema film, up until 1976.
See this image from Wikipedia…
Edge of a 35mm film print showing the soundtracks. The stereo optical sound strip is located on the right, with waveforms for left and right channels.
To the far left is the SDDS digital ...
6
If you have 70 dollars to spare, you can get 6 2' x 4' uncovered Rockwool panels. These are huge, and it's a lot of them. All that's left for you to do is wrap them in cloth and frame them. The difference between this option and a 20-30 dollar solution is far more than the 50 dollars you might save.
The following is what I purchased for my studio:
http://...
6
I don't suggest trying to re-record fill. It won't sound the same for a variety of reasons. It's best to dig through your edits and find any and all small tidbits of fill for each "noise profile" and create long fill tracks (the Reverse tool helps a lot with this). Once you have a good 5+ seconds of steady fill that's free-and-clear of sound oddities and ...
6
60 Hz is a common electrical hum in the US. A HPF can sometimes cut down on LF wind rumbles: play around with the roll off frequency.
The major issue with trying to filter out undesirable noise is that it is very often broad-spectrum (wind, etc). If you try using filters to get rid of the noise, you end up losing a lot of desirable information as well, ...
6
Sorry dude, that's a lot of noise! Mostly broadband, but there are some fast/repeating transients in there, which will make things difficult.
You can try to use a little bit of broadband noise reduction (izotope RX, Waves X-Noise or whatever), but you'll only be able to drop a few dB before you start getting artifacts. If you have access to Waves C4, you ...
6
I'm probably one of the best people to answer this since I did the editorial prep for the trailer, and worked on the feature. (Zack has had us, the feature crew, involved in his trailers since 300. As was mentioned, more typically, feature crews aren't involved in trailers.)
Zod's dialog was taken directly from the feature dialog stem. In the film, Zod is ...
6
You shouldn't have any trouble with this. The voltages coming from microphones are next to nothing, and phantom power is DC and from the same source. Think of a snake cable with 32+ channels in it, running a couple hundred feet.
You only need to be concerned about power cables running in parallel to your microphone cables. Even then, it generally isn't a ...
5
I purchased the M10. But when I was comparing the differences between the M10 and the D50, I was looking at them as solid-state 2-track recorders, not as microphones. In my mind the M10 was the winner. I saved $200 that went towards more gear in my rig that was better designed and more practical for the situations I was hoping to capture.
The M10's a good ...
5
Put it in a different room!
Professional studios do this by having a control room with all of the more noisy equipment, so in a home studio you're going to have to try to approximate that environment as best you can.
On a MacBook, you may be able to limit CPU usage in the Energy Saver preference pane. I can't tell you specifically since I'm on an iMac, but ...
5
They missed out one vital piece of information - at what frequencies?
They'd need to be made of lead to stop anything below 100Hz…
I wonder whether their mosquito-repellant curtains work when they're open too ;-)
5
Short, honest answer: nope, forget it.
In principle it's possible nowadays to separate any part of a signal, using software like iZotope RX or the (rather dated, by now) Algorithmix Renovator. These are expensive heavyweight products; unfortunately I'm not aware of any more affordable or even open-source alternatives that get close to their performance.And ...
5
How much money have you got to spend & would you consider replacing the floor entirely with a new one made of solid concrete, not connected to the current walls or floor?
That is not as frivolous a question as it may seem.
Audio separation, especially at low frequencies, can only be achieved by mass & air-gapping.
You could generate a bit of an ...
4
One of the best sounding period dramas in recent years IMHO was the King's Speech. Here's a great video interview with the production mixer. He specifically addresses the issues of recording period dramas outside.
Usually period pieces have a pretty decent budget to pull off the production design, sets, costumes, car rentals etc.. Some shoot exteriors on a ...
4
That all depends on the actor and their performance.
Noise reduction if the actor's performance on set is excellent and the dialog isn't too far gone.
ADR if the actor's performance is fair but needs some help. Perhaps they can nail it in the studio.
It's a Catch-22 if the actor is bad. They probably can't perform any better in the studio than they did ...
4
This is a documentary. You can get away with noise in the production audio, and people will accept it. They key point is whether or not the audio is intelligible. Listening to that example you linked to, I would suggest you leave it alone. The noise floor, while present, is not interfering with my ability to pick out the phonemes. Give it some EQ to ...
4
I would suggest you start by reading this article, which apart from giving you ideas, is also handy for education. http://www.soundonsound.com/sos/nov04/articles/computerproblems.htm
The signal noise on your soundcloud sounds like computer component noise. Are you setting your equipment levels correctly? Check this article on gain staging: http://www.basic-...
4
Sometimes a pop filter is not enough.
If you have an audio engineer on site monitoring the signal while the singers are recording this live or in a studio have the engineer work out a hand signal that can be interpreted as "back off from the mic".
Perhaps a reverse high five or a simple hand retracting would work. The key here is to have both the audio ...
4
Do audio cable splitters reduce signal quality or add noise?
Not in principle. Assuming the input impedance of both recipients is substantially smaller than the output impedance of the mixer (which it normally is), both do ideally recieve exactly the same signal that each of them would if connected alone.
However in practise, there is one problem which ...
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