Hot answers tagged

7

Hi guys, well here's a tip for you. Ive been using a Nuemann KMR81i for 90% of foley recording. Been doing foley for more than 25 years, so have tried it all. The 416 was the standard many years ago but it does have a nasty kick around 3k which really bites with chains, keys or foot grit, the KMR 81i is much warmer. The 416 is what I use for location foley ...


3

First of all, there are no absolutes. Recording is an art form (albeit one with technical considerations), and there are no rules with art. Your only guidelines are "does this sound good" and "do I like it?". Aside from that, you're free to experiment. Experimenting, however, does have its pitfalls. By placing anything in the signal chain which will alter ...


3

the hollywood standard is a 416 for footsteps, though I've recently been considering running some experiments. the thing about footsteps is that you never run them very hot in a mix, so consequently noise floor is less of an issue than if you just listen to them in isolation. the real tricky part is smoothing out some of the swingier transients that grit ...


2

I think the DR-680 is hands down the best purchase in the market unless you value something in the Sound Devices units (with at least triple the price) or it's oversized for your needs. https://pantherfile.uwm.edu/type/www/audio-art-tech-gallery/pages/Emil_DR680_SD702_QuadMic_Compare-present.html Has anyone got experience with the Tascam DR-680?


2

Borrowed from a comment I made to another answer asking a similar question: There's known line-level issues with the H4n, so unfortunately it's not quite that simple (thanks to Samson's/Zoom's fault here). It's a Hi-Z (unbalanced, high-impedance) which still feeds thru the preamp instead of being a direct, true professional line level. Leads to distortion ...


2

If you love the sound that you're getting, you're doing it right. What matters, is that you know your intended purpose for that vocal. Will you need the flexibility on the back end or do you already know the sound you're looking for? Compression and EQ before Tape was, and still is, a common signal chain in certain musical situations when you already ...


2

Quality between preamps; This question has probably ended more friendships amongst sound engineers than any other!! :) I think what has been established is that amongst "average preamps", the difference in quality is a very subjective matter. In preamps when you talk about quality you talk about money, which the majority of us don't have. The happy side is ...


1

I haven't tried every combination of mics and preamps out there, but i can tell you what i use and am happy with: In the studio i use Sennheiser Mkh 50 or 40 with RME Fireface 800 for foley/small objects and sound fx. If i'm recording footsteps in stairs or loft i bring my Sound Devices 702. If you ever get out of your cave (recommended) i've found the Rode ...


1

Generally, compression is used in the recording chain to avoid unwanted peaks. I always run vocals through a compressor as the human voice has an incredibly wide range of dynamics and is very susceptible to sudden peaks. It is generally not used in the same way as it is in the editing stage e.g. to level out the dynamics. As for EQ, usually this should be ...


1

It all depends on the quality of sound you're trying to achieve. I would not recommend using compressor while recording unless you're confident that you would not want to change eventually.


1

Jay is right. Furthermore I'd think it should be possible to have to Avalon in a re-recording chain. This would allow you to add the 'colour' of the Avalon and the EQ to the recorded signal. There's a great post on how to do this on ProtoolsExpert, however this is a members only video: http://www.pro-tools-expert.com/home-page/2014/3/2/how-to-record-virtual-...


1

This is a very difficult question to answer. It comes down to "how loud is loud enough" which is the same is "how long is a piece of string" So let me try answer in a generic way. Sound Pressure Level Often people mix terms like "power or watts" with "loudness" of a system. And generally speaking a system with more "watts" would be louder than a system ...


1

As a theatre technician for a multitude of shows that involve everything from bands to 60 people musicals, you have a few options. You can go with a mixer as mentioned above or you can use something a little more high tech like a Pre-Sonus / Studio Live sound board that'll do it all including your in-ear monitors with iPad control, each band member can have ...


1

You just need a mixer (before the headphone amp) to control what and how much goes into your in-ears. In live situations this is a very simple task for a monitor engineer but if there isn't one, the FOH engineer could send you a mix of what you need (clicks, guitar and vocals) if he has a spare auxiliary out and a spare line on his multi.


1

That combination should work. Make sure the Avid has phantom power on & is set for MIC (not "LINE") input. If that doesn't fix it, swap out the cables to make sure one of them isn't bad.


1

It's not a good idea, because the levels on both the line output and the headphone output are much too high for the camera mic input. If you were to turn the volume down on the headphone output, you'd probably end up with a lot of noise on the camera recording. What you really need here is a line-mic attenuator cable. This is a cable (or adapter) that ...


1

Im adding to this, except the room / ambient noise that stuff may produce (cars passing , cpu fans etc) i think you are refering to digital hashing noise, what you said as electronics noise lowering the windows volume will not fix this, this is a largely known issue and there are some ways to only try beating it. Some people never beat it and it has to do ...


1

...and turn down the microphone gain to reduce background noise... That's patently counterproductive. The gain on a solid-state mic preamp should always be set as high as possible without clipping; that's the whole point of the preamp. In particular, the lower you set the gain, the higher the effective noise level will be, because any boost later on will ...


1

Millennia HV-3 John Hardy M1 Grace Design m201


1

I've seen quite a few Avalons in ADR studios. Very quiet units.


1

Digitally speaking, the SNR should remain the same when you simply increase level. The SNR in the digital world is the same as the SQNR (Signal to Quantization Noise Ratio), which is determined by your bit depth. 16-bits gives you 96 dB SQNR (ideal case, assuming your signal is captured at maximum level before clipping), so if you captured some quiet audio ...


1

I'd try and find the original mix pres. It is far superior to the mix pre-D. It is just a much warmer unit.


1

Probably better to go for 2 mixpre's or mixpre D's than 4 MP1's! Much less to carry about and less batteries!! A mixpre weighs about the same as an MP1!!


1

A couple of points I would like to add here: 1) the Marantz PMD661..to the person who said their one twice hadn't turned on, and needed to wait a couple of hours. Very occasionally mine does that too, however, rather than wait I only need to take the batteries out momentarily and put them back in and it works fine immediately. TRy that next time you have ...


1

I was in this position last year. It was a toss up between the PMD-661, the FR LE2 and the Sony PCM D50. I ended up going with the PMD-661 due to it's portability, good build quality, the brilliant quality screen, and the well regarded sound quality. I got lucky and found someone selling an Oade Supermodded version second hand and in perfect condition, so ...


Only top voted, non community-wiki answers of a minimum length are eligible