Any tips? Could I get decent sound with just the H1 a couple of metres in front of the speakers?

How do you think the filmmakers did it?

Does anyone think they used binaural mics? Some of the 2nd documentary I posted has some of their dynamic to my ears.

You need around 20 minutes of recorded speech for the engine to be able to accurately add new words to the audio clip.

I have a MixPre-D and a few sets of Sony wireless radio mic's so what else would I need to get clean audio into the camera so I can achieve the following:

1. Record audio from the AV desk directly into the cam for presentations etc.(I don't want to use an external recorder and sync in post)
2. Record interviews on the fly around the event with the radio mic's.

Also can anyone recommend some sort of cage or bracket and shoulder rig for run n gun type shooting with the audio kit attached,

Cheers

So if someone who could tell me how to edit this clip on practice: http://tonalt.kapsi.fi/audiosample.wav

It's interview type clip. Recorded with shotgun microphone (NTG-3, placed just above subject pointing down) through MixPre and from there directly to GH2. Yes, shotgun is not the best option indoors because of echoes but this is now what we have. I have Sony Vegas Pro but lately I have been using Audacity especially to pre-process the audio.

I want it simply sound as good as possible. To get rid of background noise (couldn't avoid that), do somekind of equalization, compress and maybe even lower the echoes somehow (possible?).

Here's what I have figured out about work steps (or maybe I haven't figured out anything ;) )

1. Remove noise: In Audacity, paint part of the clip where is no other noises than the background noise choose: Effect -> Noise Removal -> Get Noise Profile. Then select all -> Effect -> Noise Removal -> (I decreased sensitivity to -4,5dB, otherwise effect was too obvious) -> OK, done.

2. Equalization: This is probably one of the most difficult tasks and takes years of experience. Effect -> Equalization -> ???

3. Compression: Effect -> Compressor -> (default values sounded pretty good actually, but what you recommend) ???

4. Remove echoes: Possible ???

If I would just get these real world instructions for this clip and information why some settings were chosen, I believe I would be much wiser already. I could also consider getting some better tools for audio if it really makes huge difference. Thanks!

1. Location sound
2. Transfer & backup
3. Sync
4. Edit
5. Export
6. Import in DAW
7. Organize tracks
8. EBU R128 & Monitor levels
9. Create roomtone & clean tracks
10. Noise Reduction
11. Crossfade tracks
12. Spotting session
13. Foley
14. Ambiance
15. Sound Design
16. Music
17. Mix
18. Export

Wiki Link

https://moodelizer.com/

Orion Sound Module is a free 3GB rompler featuring 97 virtual instruments, works on Mac & Windows.

http://www.samplescience.ca/2016/01/orion-sound-module.html

Introducting the world's first soundtrack creation studio

https://filmstro.com/

Mac only for now, Windows release coming early march.

Tutorials:
https://vimeo.com/album/3650137

Bure real theater could

http://mixonline.com/news/dolby_atmos_platform_2304/

Understanding the basics of how wireless systems and radio waves function will help you consistently triumph over dropouts, interference and distortion. You can start right now by avoiding these common errors.

Signal blockage

Maintain line-of-sight between the transmitter and receiver antennas as much as possible. Avoid metal objects, walls, and large numbers of people between the receiving antenna and its associated transmitter. Ideally, this means that receiving antennas should be in the same room as the transmitters and elevated above the audience or other obstructions.

The human body can also interfere with wireless signals. Largely composed of water, our bodies absorb RF energy. In addition, if a user cups his or her hands around the external antenna on a handheld transmitter, its effective output can be reduced by 50 percent or more. Similarly, if the flexible antenna on a bodypack transmitter is coiled or folded, the signal suffers.

Incorrect antenna type or placement

Receiver antennas are one of the most misunderstood areas of wireless microphone operation. Mistakes in antenna selection, placement, or cabling can cause short range, dead spots in the performance area or low signal strength at the receiver that leads to frequent dropouts. Modern diversity receivers offer much better performance than single-antenna types, but the right antennas must still be put in the right place to maximize the performance and reliability of the system.

To ensure good diversity performance, space antennas apart by at least one-quarter of a wavelength (about 5 inches at 600 MHz). The receiver antennas should be angled apart in a wide “V” configuration, which provides better pickup when the transmitter is moving around and being held at different angles.

Try to keep antennas as close to transmitters with line of sight as is possible. Antennas can also be frequency band-specific. Don’t try to use an antenna from another system without double-checking the frequencies first.

If the receiver will be located away from the set area (in an equipment closet or a closed rack, for example), ½-wave antennas or directional antennas should be remotely mounted (ideally above the audience) in order to have a clear line of sight to the transmitters. (Short ¼-wave antennas should never be remotely mounted, however, because they use the receiver chassis as a ground plane.) Increasing the separation between diversity antennas up to one wavelength (about 20 inches at 600 MHz) will improve diversity performance. Beyond one wavelength, extra distance between the antennas will not significantly improve diversity performance, but may allow better coverage of a large stage, church, or meeting room.

If the antennas will be far from the stage, use directional antennas to improve reception by picking up more signal from that direction and less from other angles.

If the antennas will be connected to the receiver with a length of coaxial cable, in-line antenna amplifiers may be required to overcome the inherent signal loss in the cable. The amount of loss depends on the exact length and type of cable used, so follow the manufacturer’s recommendations. Total net loss should not exceed 5 dB.

Poorly coordinated frequency set

• Frequencies must avoid local active TV channels
• Frequencies must be mutually compatible

Television transmitters may operate at power levels up to one million watts while wireless microphone systems typically have only 50 mW (fifty one thousandths of one watt!) or less output power. To combat broadcast television interference, avoid using frequencies of local active TV channels.

How local is local? “Local” is generally considered to be up to 50 or 60 miles, depending on the coverage area of the particular TV transmitter and on the location of the wireless microphone system. The good news is that indoor setups are at less risk than outdoor setups because building structures will usually strongly attenuate TV signals. Inside buildings of substantial construction, it may be possible to ignore TV stations as close as 30-40 miles. Still, since the locations and assignments of television stations are well known, it’s pretty easy to choose relatively safe wireless microphone system frequencies in a particular area.

To insure a mutually compatible set of frequencies once the local TV channels have been taken into account, it is necessary to use one of two methods. The simpler method is to use the “Group” and “Channel” frequencies that are already programmed into the wireless systems. By using Channels that are all in the same Group, compatibility is guaranteed for small setups of like equipment. The appropriate Group and Channels can be determined from a link to the manufacturer’s website or often by using the built-in “Scan” function on the receiver itself.

If the wireless setup is more complex, for example using wireless microphones and wireless in-ear monitors together, it may be necessary to use a frequency coordination computer program to insure compatibility. Wireless manufacturers can assist in these situations.

One frequency does not fit all. If you are touring, one consequence of the newly dense TV channel distribution in the US is that it is not generally possible to use a given set of wireless microphone frequencies everywhere in the country.

There is no such thing as “set and forget”.

Even if your audio system doesn’t move from place to place, the radio environment can change unexpectedly. It’s largely true that television stations remain constant, but if there are other wireless systems in the frequency band – whether it’s multiple systems in your own location or interference from the coffeehouse down the street – your wireless frequencies may need to be adjusted. What worked at sound check may not be failsafe when the show begins. And that’s why frequency coordination is so important.

Poor battery management

Despite the fact that transmitter battery life is a top concern with wireless mics, users continue to try and cut operating costs by using inexpensive batteries. Most wireless manufacturers specify alkaline or lithium single-use batteries because their output voltage is very stable over the life of the battery. This is important because most transmitters will exhibit audible distortion or signal dropouts when supplied with low voltage. Rechargeable batteries often seem like the ideal solution, but many rechargeables provide about 20 percent less voltage than a single-use battery — even when they are fully charged.

To combat battery problems, carefully compare the transmitter’s voltage requirements with the battery’s output voltage over time to make sure that the battery will last through a full performance. For 9-volt applications, there are lithium-ion types that work well, while Ni-Mh and Ni-Cad batteries may last only a couple of hours. For AA applications, Ni-Mh rechargeables offer similar performance to single-use alkaline batteries.

Using rechargeable batteries is a great way to save money and landfills as long as you or someone on your staff is able to effectively manage them. Remove batteries from transmitters after each performance. This will keep you from using half-dead batteries the next time you need them and will also prevent an accidental leak from damaging your transmitter if stored for an extended period of time.

Improper gain set-up

Setting the proper input gain is one of the most important adjustments on a wireless microphone system. Distortion may occur if the gain is set too high, while poor signal-to-noise may result if the gain is set too low.

Most wireless systems have a gain control on the transmitter itself in the form of a switch, a pot, or a programmable adjustment. It may help to think of this gain control as serving the same function as the “trim” or “gain” adjustment on a mixer. Its purpose is to set the input sensitivity low enough to prevent input overload or “clipping” but high enough so that the signal level is well above the system noise floor.

Adjustment of the wireless transmitter gain is done in the same way as mixer input gain: set the gain control so that the loudest input signal just barely lights the overload or peak indicator. For a wireless system this indicator is usually on the receiver, so it is necessary to observe the receiver front panel while the performer is singing or playing. If the peak indicator is flashing constantly, reduce the transmitter gain until it flashes only occasionally. If the indicator never flashes, increase the gain until it flashes just on the loudest signals.

Many wireless microphone systems have an output level control on the receiver. Since this control only affects the receiver output, it has no effect on improper gain adjustment in the transmitter. That is, if distortion or poor signal-to-noise is occurring in the transmitter, it cannot be “fixed” by changing the receiver output level. Most professionals recommend leaving this control at maximum. As long as the mixer input can accommodate this level, the overall system will exhibit the best possible dynamic range.

Via http://blog.shure.com/avoid-these-five-mistakes-in-wireless/

Ok, so do you think it would be possible to take some foley drone audio from hollywood movies, maybe put it through few filters and use it and not be traced back to the source? I watched Sicario today and there was some great ambient drone sounds, not really music but drone like sounds.

Would you use it? Will I be arrested?

I bought this the other day, I needed a very small compact mic for my OMD EM5 MKII. I saw a few reviews on youtube and it seems ok, I will only use it for picking up sounds and maybe in a pinch some dialogue. Anyone used one? They seem generic, with different names but ultimately they are the same mic.

If crap ill stump for a MKE400 but the sound seems thin and its expensive so am trying this budget option first.

M-Audio Keystation Mini 32

http://www.m-audio.com/products/en_us/KeystationMini32.html

This is the one I currently use. Great compromise between portability and control. The keys are actually very musically to play! You can choose between different velocity curves (I personally find #0 to be great playing the piano). The range of 32 keys is also very good. Pitchbend controller/expression buttons works surprisingly fine with adjustable bend time. Sustain latch button and rotary controller adds to a very complete and affordable package. I can't actually find anything to complain about :)

Akai LPK25

http://www.akaipro.com/lpk25

Up until the keystation arrived, this was my choice of mini keyboard. But compared to the Keystation the keys are spongy and having just 25 is a bit claustrophobic.

Korg Microkeys 37

http://www.korg.com/microkey

This is the one to get if you hate mini keyboards ;) Great key action that allows very rapid playing and controllable, consistant velocity. Only downside is bulky size (won't fit easily into my laptop bag) and the keyboard lacks any sustain control (the 25 version has a sustain button, though)

Korg Nanokey

http://www.korg.com/nanoseries2

This was my first venture into mini keyboards. Don't get this. You get better control playing on your laptop keyboard ;)

http://www.musicappblog.com/yourock-guitar-review/

At $329 with it's better neck , this is a pretty cool instrument for guitar players who wanna go back to the future.

PR

The Pa4X relies on KORG’s advanced EDS-X (Enhanced Definition Synthesis-eXpanded) sound engine, drawing on a massive PCM resource over 10 times larger than those found in previous models, and comes complete with over 1,500 ready-to-play highly detailed sounds. This realistic collection offers a substantial gathering of classic and contemporary keyboards, band and orchestral instruments, plus electronic and acoustic instruments—from techno to folk.

KORG’s exclusive DNC (Defined Nuance Control) provides highly-articulate solo instruments, and partnerships with Waves Audio and TC Helicon provide state-of-the-art audio processing and studio quality vocal effects. There are a great deal of new instruments and authentic drum kits, along with a considerable infusion of Styles to cover a world of musical genres, and highly-versatile Styles have been created by KORG’s international sound team to provide inspiration.

“Ideal for composing, recording, and combo use, the Pa4X really comes to life in the hands of the solo keyboard performer and allows the entertainer to work more efficiently,” stated James Sajeva, Brand Manager for Korg Products. “With streamlined construction, intuitive design and fantastic feel the Pa4X is more than a keyboard; it’s your backup band; your accompanist; and your musical director. It’s your soundman; your effects engineer; and your always in-tune background singers. The Pa4X is the ultimate all-in-one performance solution designed to deliver on stage all night.”

Both the Pa4X 76 and Pa4X 61 feature a naturally-responsive and semi-weighted keybed that provides velocity and aftertouch sensitivity and included is a new multi-layer stereo grand piano (with damper and body resonance), plus electric pianos from the acclaimed KORG SV-1 Stage Piano. In addition, the Pa4X has been equipped with new wind instruments, strings, basses—even acoustic and electric guitars. Sounds have been painstakingly captured using state-of-the-art methods that allow the finest of details to be accurately reproduced.

The main panel has been optimized to ensure that all controls are ergonomically positioned and intuitively located to make every performance feel smooth and natural. Big, bright, and bold, the new TouchView display hosts a redesigned graphical interface that is easier than ever to read and the entire screen can be tilted forward and back to provide the perfect angle for optimum viewing.

New Styles have been added, and many cherished Styles have been brought up to date with new sounds, enhanced effects, and re-balanced mixing. In addition to drums, percussion, and bass, each Style can provide up to five additional instrument parts that follow your chord changes and voicings, as well as the tempo. Guitar Mode 2 makes the Style’s guitar tracks more authentic than ever before possible.

The convenient Chord Sequencer function can quickly record and loop chord progressions on the fly in Style Play mode and Chord Sequences can now be also saved as Style and SongBook entries for easy recall. Thanks to an all new built in SMF (Standard MIDI File to Style converter), users can quickly and easily have on board styles of the latest songs. Particularly helpful for live use, the SongBook is a fully programmable and easily searchable Music Database.

In addition to the Main Left and Right outputs, the Pa4X includes two additional assignable outputs ideal for isolating a part for additional signal processing or feeding an external mixer. A headphone output is conveniently located on the front panel and the microphone input uses an XLR connector, and phantom power is available.

The Korg Pa4X will be available November 2015 at $3,799.99 for the Pa4X 61 and $3,999.99 for the Pa4X 76.

http://www.korg.com/my/products/synthesizers/pa4x/

Any recommendation on the workflow for broadcast. The sound source is a mono microphone.

At the moment I start by converting in stereo and then normalising it; I am struggling with the effects as which one to use for compression.

The sound I record is usually interviews in public places which sometimes has background noise. And on some occasions I record live street music.

I'd love to hear your views. ( I am a newbie with audition and sound engineering)

Thanks, Hakura

https://www.indiegogo.com/projects/puc-plus-universal-bluetooth-midi-interface#/story