Question: In Audition, is it possible to set a volume of one audio track to be based on another? For example, to automatically raise and lower the volume of a room-tone track in response to the dialogue mix? I can't see a way to do this in Adobe Audition. Is it possible in other software such as ProTools or Nuendo? Is this even a good idea, or am I going to end up setting it by hand anyway? It certainly seems like it would be a useful first pass.

SpectraLayers Offers the Following Transformational Features:

Extreme Audio Editing

• Divide audio files into discrete, user-defined layers that can be processed independently and reintegrated to achieve perfect master files.
• Remove unwanted noises and artifacts with ease while leaving surrounding audio data completely intact.
• Separate music and dialogue into individual component layers.
• Perform pitch correction on user-selected components of an audio file.
• Employ SpectraLayers in audio mastering, sound design, analysis, and forensics tasks.
• All tools are modifiable using a wide range of user-definable sensitivities and tolerances.

Extraction Tools

Extract audio into independent layers using intelligent, programmable tools:

• Area — select any audio for transfer from directly within the spectrum graph.
• Frequency — track frequencies and transfer them directly to selected layers.
• Harmonics — seek and select harmonics in user-defined amounts and orders.

Modification Tools

Operate directly on waveform spectra to perform precise, creative edits:

• Amplify
• Clone
• Erase

Creation Tools

Create sound directly in the SpectraLayers interface

• Frequency
• Noise

• Fidelity / Flexibility

• 32-bit 96 kHz capable.

• SpectraLayers provides seamless file transfer to Sound Forge Pro and other audio editing programs.

SpectraLayers is available for both Mac and Windows platforms.

Available:

http://www.amazon.com/Sony-SPL1000-Spectra-Layers/dp/B008MIMHGM/ref=sr_1_1?ie=UTF8&qid=1344266704&sr=8-1&keywords=spectralayers

More info:

http://www.sonycreativesoftware.com/spectralayerspro

My blog post on this news: http://ironfilm.co.nz/news-leak-zoom-f4-with-six-inputs-and-eight-tracks-is-like-a-new-low-priced-zoom-f8/ (some of it repeated below)

I thought the Zoom F8 when it was announced was a groundbreaking new recorder in what it brought to a new low price point for soundies.

Now the F4 is even cheaper ($650 vs $1K), and has nearly everything the F8 has! Except for most notably the lack of extra XLR inputs (8 vs 4, thus the names: F8 vs F4. The "F" = field recorder, "H" = handheld recorder such as H1/H4n/H5/H6) and the lack of an app for the F4 to mix on a tablet like you can with the F8. Oh, and in a more minor point the F4 has a monochrome screen vs the 4 color screen of the F8.

But everything else (such as pre amps, and time code) is basically exactly the same as the F8!

Some specs

Designed to provide big Hollywood sound on an affordable indie budget, Zoom F4 is a 6-input / 8-track professional field recorder featuring super-low-noise preamps and timecode with pinpoint accuracy. The unit provides recording and playback resolutions up to 24-bit/192 kHz with impressive audio specs including an extremely low noise floor (-127 dBu EIN) and high gain (up to +75 dB), with +4 dB line-level inputs. The on-board temperature-compensated crystal oscillator (TCXO) generates timecode at 0.2 ppm accuracy and supports all standard drop-frame and non-drop formats, as well as jam sync for external devices.

The advanced on-board limiters provide overload protection for all inputs and outputs, which lets you capture audio in a wide range of environments. Limiting can be applied simultaneously at full resolution with 10 dB of headroom and features controls for setting threshold, attack, and release.

The F4 offers four combo XLR-1/4" inputs, a 1/8" stereo input, and includes a Zoom mic-capsule input for recording six discrete tracks with an additional stereo mix, all at full 24-bit/192 kHz resolution. Additionally, inputs 5/6 can function as a camera return for audio monitoring only for confidence checks. The dual-SD card slot features simultaneous recording to both cards allowing you to make a backup or split recording with all eight tracks on one card and a stereo mix on the other. Each of the four XLR-1/4" inputs offers a dedicated preamp with gain control, phantom power, a six-segment LED level meter, plus a Record Ready and PFL switch. In addition to the 1/4" headphone output with a dedicated volume control, the F4 provides two main balanced XLR outputs, as well as two sub outs on a single unbalanced 1/8" stereo mini-jack, enabling easy connection to a camera. All timecode I/O is provided on BNC connectors and the unit includes a variable-frequency slate-tone generator to confirm levels.

An easy-to-read 1.9" LCD display is suitable for use in all lighting environments including dark low-light sets to bright sunlight. The on-board mixer not only provides user-adjustable level, pan, and input/output delay, but also offers high-pass filtering for noise and wind reduction, phase inversion, and Mid-Side decoding. The F4 ships with a camera-mount adapter, AC power adapter, and download codes for Cubase LE and Wavelab LE.

• Six-input / eight-track multitrack field recorder with integrated mixer
• Six discrete inputs, including four with locking Neutrik XLR/TRS combo connectors, a stereo 3.5mm input, and Zoom mic-capsule input
• Compact and lightweight metal chassis, weighing just two pounds (without batteries)
• High-quality mic preamps with up to 75 dB gain, less than -127 dBu EIN, and +4 dB line inputs
• Support for up to 24-bit/192 kHz recording as well as 96, 88.2, 48, and 44.1 kHz, plus 47.952 and 48.048 kHz for HD video compatibility; 16-/24-bit resolution
• Accurate timecode (0.2 ppm) I/O on standard BNC connectors; dropframe/non-drop formats with Jam Sync
• Two different power supply options: 8x AA batteries or external DC battery pack with 4-pin Hirose connector
• Dedicated gain control knob, 6-segment LED level meter, and PFL/Solo switch for each channel
• Phantom power (+48V/+24V) on every preamp
• Advanced on-board limiters for input and output
• High-pass filter, phase invert, and Mid-Side decoder
• Input delay of up to 30ms per channel / output delay of up to 10 frames per output
• Compatible with all Zoom mic capsules; optional ECM extender cable enables remote positioning
• Dual XLR balanced Main Outs plus 1/8" stereo mini-jack Sub Out
• Dedicated headphone output (100mW) with front-panel volume control
• 1.9” white, backlit monochrome LCD
• Dedicated PFL display with viewable trim settings
• Dual SD/SDHC/SDXC card slots, up to 512GB each
• Records in BWF-compliant WAV or MP3 file formats
• Support for extensive metadata (BWF and iXML); input time, date, project, scene number, etc.
• Built-in tripod mount; camera-mount adapter also included
• Use as a 6-in/4-out USB audio interface (@ 96 kHz)

Available for $650 at https://www.amazon.com/Zoom-F4-Multitrack-Field-Recorder/dp/B01KZHQWY0/

http://www.sonycreativesoftware.com/soundforgepromac

Built on a clean slate for OS X, Sound Forge™ Pro Mac provides a contemporary application environment that’s perfect for recording, editing, processing, and rendering broadcast-quality audio master files. A fresh statement on audio editing software, Sound Forge Pro Mac includes a comprehensive suite of mastering, restoration, and repair tools for immediate results.

With the loss of Bias Peak, the competition was getting thinner on the ground with only Adobe and Steinberg Wavelab to master audio to. Now with this release we have a decent tried and tested editor via the PC. Excellent!

X2a includes the following:

• Multi-touch support for Windows 8
• General Windows 8 compatibility updates
• Direct2D support
• Accessibility enhancements
• Playlist View Enhancements
• Updated Piano Roll view and Staff view Track pane UI
• Over 50 UI enhancements
• Around 250 bug fixes

Via: http://blog.cakewalk.com/a-deeper-look-at-sonar-x2a-native-windows-8-and-touch-support/

The only advantage of the zoom apart from the price now which is more like $ 270, is that it can record 4 track from its 2 xlr and 2 internal mics. But as a filmmaker, I will always choose to have two quality preamps than some crappy zoom ones because most of the time we will use only one microphone. From everything I saw and heard the zoom XLR preamps are very noisy, unfortunately it is those thing/brand/model that gained traction from the early days of hdslr filming that would never go away.

Furthermore if you look at http://www.avisoft.com/recordertests.htm test, the Ls-100 is at the top part of the list, the best handheld recorder with XLR and better than the Rolland R-26 which is about $ 100 more. The internal microphone seems to be very good quality also. From what I read it had problem of latency for the headphone jack, but Olympus has remedied to that with a firmware update.

Test of the Olympus Ls-100 compared to the zoom h4

I'm not wanting to buy a Zoom I don't think and I would like price to be reasonable and the ability to get to lavs into one system if possible.

• records to SDHC card
• sturdy construction
• build in condencer mikes
• is able to record in WAV with 44.1, 48 or 96kHz, 16 or 24bits
• MP3 bitrate from 32 to 192kbit/s
• digital S/PDIF input
• Two balanced mike/linear inputs XLR-1/4"m with phantom power option
• big oled display with adjustable brightness
• minijack input
• 2x RCA output
• USB 2.0 port
• 2 AA batteries or AC brick power
• up to 7 hours recording on batteries
• $399 price

• Suspended capsules in XY arranging, two other capsules pointing sideways
• 8Gb build in
• LiIon battery, 3.7V 280mA
• SNR: ≥85dB
• record PCM, MP3
• Up to 33 hours recording with turned off backlight
• 88g
• manufacturer page - http://www.aigo.com/product-227.html
• Price around $65 inc shipping at https://www.aliexpress.com/item/Aigo-R6601-8GB-Digital-recorder-professional-HD-MP3-mini-noise-reduction-support-ADPCM-WAV-lithium-battery/32740810718.html

Key features:

• Six analog inputs (3+3); three full-featured mic/line preamps plus three line-level inputs, each with dedicated front-panel faders and PFLs
• 10-track recording, polyphonic or monophonic broadcast WAV files @ 24-bit 48 kHz (96 kHz and 192 kHz sampling for 6 tracks), time code stamped MP3
• Simultaneous or independent recording to SD and CompactFlash card
• 6 mix buses, left/right main plus Aux 1/2/3/4
• PowerSafe Circuitry offers complete file protection from power loss. Ten second internal power reserve closes files and shuts down unit.
• Quad Powering offers class-leading powering flexibility from four available power types, easily power the 633 for a full production day
• Two second power on-to-recording. Never wait on sound!
• AES input, two-channel AES3 or AES42, four channels of AES output
• Accurate Time Code Master Clock generator and reader, 0.5 frame per day accuracy
• Clear, fast, easy to navigate controls and interface; visible in all light conditions, configurable metering and display
• USB Keyboard connection for quick and easy metadata entry.
• User-configurable headphone presets plus a headphone favorite mode for quick source selection
• Small, lightweight, compact chassis made from molded, metalized carbon fiber

http://www.sounddevices.com/download/lit/633_sell_sheet.pdf

Tascam DR-60D MKII Audio Recorder - $160 (will include a free 20 ft XLR M to F cable)

Roland R-05 Audio Recorder - $165 (will include a free cover/windscreen set)

Tram TR50 Microphone - $180 (This is the one designed with 1/8" plug. I have used this plugged directly into the Roland R-05 and it works beautifully. Model number is TR50BSET+)

I'm considering upgrading from a GH2, mainly due to the slightly better audio abilities of the GH4 (headphone jack, 3.5mm input). I shoot a tonne of interviews so it would come in handy. I've just got a few questions about the GH4 which I'm finding difficult to find answers on...

FYI: the audio devices I'll be using with the GH4 are the Rode Video Mic Pro or a Sennheiser wireless lapel mic (e3 kit).

1. Is it possible to adjust audio levels via a function button or some kind of PHYSICAL button on the camera?
2. If not, is the touch screen audio level adjustment actually useable during shooting or is it very fiddly?
3. Assuming I buy a GH4 that doesn't have the buzzing issue, is the audio quality acceptable?
4. Are there any random quirks to the audio of the GH4 I should know about?
5. Does the GH4 have any issues like the GH2 where the audio levels change slightly once the 'record' button is pressed?
6. How is the audio level meter? Is it accurate / helpful etc...?

I'd be keen to hear from anyone shooting and recording audio with the GH4 and get their feedback and opinions. It'd be great to ditch the Zoom H4n recorder that I use with the GH2.

Cheers!

• Records Up to 4 Channels Simultaneously
• Screw-On DSLR Camera and Mount to Tripod
• Operates on 4 AA Batteries
• Up to 24-bit, 96 kHz PCM Recording
• Two XLR/TRS Combo Mic/Line Jacks
• Switchable 24V and 48V Phantom Power
• 3.5mm Stereo Input with Plug-in Power
• Mic Preamps for Each Input
• Records to SD or SDHC Cards
• Transfer Audio to Computer via USB Port
• Price:$349.00

Available at:

• http://www.bhphotovideo.com/c/product/929347-REG/tascam_dr_60d_4_ch_track_linear_pcm.html

Can i get anything similar on the GH2 with hacks? The faq does mention Gain control access, but it doesn't go deeper.

Btw, feel free to redirect me to dev threads. i am pretty comfortable with embed electronics and programming (just not much with the GH2, yet)

$1,400 OBO.

The Tamron is in Mint Condition. I'm just not a zoom person, and honestly I prefer to shoot wide, this was more of an event/coverage lens and I just don't do that kind of work anymore. Practically new condition.

$950 OBO.

Both items are in LA, but will ship worldwide.

PM me if you have any questions or are interested!

2 files wav PCM 48kHz 24bit stereo.

http://bit.ly/YOFZdn

Unedited, some low end clipping rumble from time to time, but healthy 3-4 minutes all in all :)

PS. I'm in the middle of 12 cameras multi-cam editing project, and this is probably something my brain does on it's own to stay healthy, If you wander why one would share things out of the blue.

I've owned this for just over a year and haven't used it as much as I had imagined. It's an excellent quality 3-channel field mixer, ideal for professional audio or video production. It runs for hours on 3AA batteries, has 3 inputs, and two outputs.

Included is: XL-14 headphone extension cable, 3.5mm>1/4 inch; product registration card; setup menu reference card; setup menu reference card; rubber bumpers

For a detailed review and overview of all the features, check out this review: wildlife-sound.org/equipment/SD302.html

So, I am looking to have a few things sorted out in the sound dept. for a doc I am working on. I have decided that the subjects will have lavs with Tascam DR-05 recording on 16GB cards (enough space for the 12hrs or so quoted by Tascam on battery life with Eneloop Pros) I can't afford wireless, so the recorders are the best combo right now for lavs (opinions welcome on this) I heard samples of Zoom H1 vs the Tascam and the Zoom has too much hiss to my taste.

On camera:

This is where I am finding a bit of a hard time deciding. I want a compact kit (preferably without a rig)

Kit 1: Roland R-26 using all of its mics recording to their own independent channel (thats 2 omnis + XY) AT875r recording into the Roland R26 Since this test showed that the Roland has a bit of a hiss, I thought that using a Fethead attached the already short AT875r will give me a lower noise floor.

• Omni + XY + Shotgun channels to mix in post along with the lavs. --For this kit, I would need to get a cage to have both the Roland and the Shotgun mounted on the GH2.

Kit 2: For a lower price as the above: Zoom H6/H5 w/ SSH-6 mic. This module mic is a XY and short shotgun at the same time, which (with Zooms software) you can then choose how much of each set (XY and shotgun) you can have in your final mix later.

Sample of software and mic tests:

• on this one is that the AT875r takes the bench of gets sold because the module replaces it. The recorder mounts directly on the hotshote (no cage, or rig)
• Not enough samples from the SSH-6 mic out there, especially indoors and with dialogue, so it's a bit of a gamble and I don't know how well the noise floor will be with that combo. -/+ XY and Shotgun only left to mix later in post with the lavs. Hearing samples from the Omni+XY+Shotgun on the Roland leaves me with a bit of nice feeling.

Kit 3: The original kit I imagined I would get.

Tascam DR-70D AT875r

• cheaper than both above
• Dr-70D pre-amps are very nice but could also compliment them with a Fethead
• DR-70D built-in mics may be stereo...but they don't really give a stereo feeling so kind of pointless and the main reason for me to look at the above

That's pretty much what I have right now as options.

I also read about the Olympus LS-100 which has nice quiet pre-amps (for the XLRs) but I was advised by a friend that the 16bit recording may be too limiting if I need to compensate for either noise or for mixing. Any opinions on that?

Sadly enough no shop in London has all of these so I can test them all in one place and see what may fit best.

Also, my doc stuff is multi-field (indoor, outdoor) fly on the wall style 95% of the time so I really like the idea of having mixing options between the lavs, stereo and shotgun.

What do we think??

Key Features:

• Fully redesigned audio engine and 64-bit architecture
• New Avid Audio Engine – Delivers multiple times the processing power of Pro Tools 10 on the same hardware configurations.
• 64-bit architecture – Exponentially increases the number of simultaneous virtual instruments and the performance to handle the most sophisticated sessions.
• Offline bounce – Delivers mixes up to 150 times faster than real time.
• Low-latency input buffer – Ensures ultra-low latency record monitoring without sacrificing plug-in performance.
• Dynamic host processing – Maximizes plug-in count by reallocating processing resources as needed.
• Expanded metering
• Extended standards support – Features a broad range of built-in metering standards, from peak and average to VU and PPM, to maintain adherence to regional broadcast requirements.
• Gain reduction – Shows gain reduction for all dynamics plug-ins on each channel.
• Direct HD video workflows
• Built-in Avid Video Engine – Enables audio post professionals to play and edit a wide range of HD video formats includingAvid DNxHD, directly in the Pro Tools timeline without transcoding, using the same core engine as in Media Composer.
• Video interface support – Enables monitoring of DNxHD and QuickTime media through Avid Nitris DX, Avid Mojo DX, and other video interfaces.

Availability & Pricing

• Pro Tools 11 and Pro Tools HD 11 is expected to be available later in Q2 2013.
• Pro Tools 11 software (full version) – $699 USD
• Pro Tools 10 to 11 upgrade – $299 USD
• Pro Tools 9 to 11 upgrade – $399 USD
• Pro Tools Express to Pro Tools 11 cross grade – $499 USD
• Pro Tools HD 10 to 11 upgrade – $599 USD
• Pro Tools HD 9 to 11 upgrade – $999 USD

Seems like JuicedLink killer.

Three channels. LCD backlit levels. Headphones monitoring.

Simultaneous recording to SD card and to your camera.

Auto slate tone upon recording start.

No info on price, and no actual photos yet.

More details at:
 http://www.fostexinternational.com/docs/latest_news/EFpkuAAElFRSSZGVPA.shtml 

I hope to see audio recorders that will record constantly since they are on and
record button will only make new file to make editing faster.



Available at:

http://www.amazon.com/Fostex-DC-R302-3-channel-channel-Recorder/dp/B008YOBUDK/

Asking $195 with shipping to USA.

I'd like to record the audio on 2 separate (!) audio channels (Mic left, wireless right), directly in to the camera (GH4) If a audio backup is placed on a recorder that is even better.

For years I looked into stuff as the Zoom H6 / Tascam DR-100, etc. I like that the sound is recorded extra (as backup), but it is too much for a one mans show run 'n gun. I also don't want to sync in post. (as an editor will need to do that , and won't be happy with this) . I thought of the DR60, but it is big, complicated, bad batteries, etc. and I don't know if it can feed a stereo audio (separated) channel to the GH4?

So probably you'd suggest a Juiced Link / Beachtek preamp, because a pre amp is important, right?

But the GH4 pre amp (set to the lowest -12) is okay right? So I'd only need to get both channels in the camera. I found the Beachtek MCC-2, and didn't see anything here on the site.

What's your thought? Will this work for my purpose? Or is this not reconmended for a 'pro' . The money isn't the biggest issue, but the 'easy handy workflow' is.

My Pros: - no batteries, small, 3 hot shoes, (receiver, mic, light) - perhaps possible to put below the camera - cheap

Cons: - Would a pre amp be much better? - Mini jack vs (balanced?) XLR (would that be much better)

I also have a sennheiser shotgun with XLR, but it is quite big for the GH4. As the VMP already has 3.5 and sennheiser wireless also has that cable, that seems more logical (and smaller).

Recently I uploaded one more poppoza to vimeo and audio was seriously compromised.
In both x264 or x265 copy versions the audio track (48 KHz AAC 320 Kb/s) has loose a bit of "organicness" and gain more noise but vimeo compression just made it much worse, almost painful.

 
So I'd like to understand 2 things:

A - Did I push the audio too much in post? Please see, well listen to small wav sample extracted from master video file.

B - How could I improve audio compression for web upload maintaining image quality? Regarding the visual aspect, I'm Ok with how vimeo chews my x264/5 uploads, after all for non PLUS users it's always a matter of balance (500Mb 1 HD upload per week).

All constructivist feedback is most welcome =)
As a "token" of my appreciation here's a LUT I made using DRL (zip file)

gashô