Thanks - very useful! I stopped half way through and started a powerpoint layout to put into my work process. Ended up spending all Saturday afternoon making process flows with this in mind! Seems a bit nerdy but .... I enjoyed it.
This is so good Javier! Not enough in this space is said about audio other than it's almost important as video. You put us on game! I don't have anywhere near the gear that you have, but I try to do a form of the same thing when I record; audio to camera and audio to an external recorder (H4n). On livestreams I record to an SSD, to a camera, and to Restream. It's a start, but I think it's a great mindset to have because you never know what will happen. It's great to see more tutorials from you Javier!
Thanks for that. I recently ditched my Saramonic wireless microphone setup in favor of a DJI Mic 2 wireless setup. My audio redundancy in saving a copy to the transmitter and saved my butt on my most recent video.
Just a side note of some things to consider (and I'll add a little sound pressure level cool fact below) - Standard pro 24 bit audio can capture a dynamic range of 144 dB - MAX spl of about 90% of mics you will ever use = +/- 120 to 140 dB - MAX dynamic range of most mic preamps you'll use = +/- 120-130 dB - pain threshold is around +/- 130 dB spl - instant deafness +/- 180 dB (without hearing protection) - Rocket launches = +/- 165-180 ( at the pad!) - Biggest naval guns (ie on Battleships) = +/- 180-190 dB at about 1 meter from the muzzle - DEATH = +/- 200 dB - I'm afraid hearing protection won't help here because of ruptured internal organs, collapsed lungs, catastrophic damage to brain and cardiovascular system. The physical shockwave accompanying such a high SPL is equivalent to an explosive blast. - 32bit audio dynamic range +/- 1528 dB yep, thats a one THOUSAND, with a five HUNDRED after it. Ok, so for clarity and perspective of the senselessness of 32bit audio recording capability.... Here's the cool spl fun-fact: 194 dB spl is generally considered the MAXIMUM POSSIBLE linear sound wave that can be supported by air. As in, Earth's atmosphere. That's because at this level the sound wave compressions are just as dense as the air (under normal atmospheric conditions). If the peaks of the sound pressure you are trying to record matches the ambient atmospheric pressure, nothing will move, and without molecular movement (compression/rarefaction) there's NO sound. It's like pressing the palms of your hands together with the same pressure. Your hands won't move. This simply means that any pressure above and beyond 194dB becomes a shockwave (like those from an explosion) Think of a Sonic Boom from a military jet. Big loud sound accompanied by a shockwave produced by all the pressure was was greater than 194dB. SO, just fyi, 32bit audio is absolutely NOT needed. If you still think it is, please reread this post. Manufacturers have to keep payroll running so creating 32bit floating point recording and using flashy "it makes your audio better" type marketing has done it. I literally had a film production company call me and say that location sound they recorded for the next TV series I would be mixing for them used 32bit audio so it was going to sound GREAT! smh ...careful when normalizing 32bit audio. You normally only need to raise level about 6-15 dB. There is NO need to push levels into the range reserved for explosions etc!
Yeah my redundant recording has saved me the hassle of rerecording things in the past. Actually just recently when I deleted the wrong set of files. Thank you for sharing!!
I really like your videos. They are very helpful. I have used a simple "Y" splitter (1 female XLR in; 2 XLR out) and they have given me the needed redundancy and have saved me a number of times.
I usually capture audio with a lapel mic into my interface, but always capture audio into my Sony camera with a rode ntg as a backup. The best thing about this is synchronizing them in Premiere when editing and being able to sync my lapel audio with my camera footage easily. Another great video!
As someone new, this is very helpful, would you mind sharing your approach for multiple people interviews such as single, 2 person, 3 person interviews etc???
That's an awesome reminder to have! Just imagining that scenario you said about John Cena gives a heart attack. Personally at a lower level working run & gun I use a simple Y splitter that splits the left and the right audio channels, so I can put two mics, usually one is the wireless lav and the other is the shotgun on the camera
Javier, let me ask, how does one eliminate the echo coming from two microphones near each other? I've done recordings using a pair of Shure 7M7B's where the audio from one of my speakers was going into the other speaker's microphone and caused a slight echo. It's really annoying. Thx
I manually mute the mic when the speaker isn't talking, gets rid of the echo. Takes longer to edit content this way, but it sounds much better in my opinion. You can also experiment with the AutoPod plug-in too. th-cam.com/video/ynAJszzZg4Y/w-d-xo.htmlsi=T2TcZ4ofnNZKoGJW
@@JavierMercedes yeah, I've tried that. The issue is you never know when the other speaker is going to pipe up and catch me off guard. It's a real hassle. Thx though.
Doing a job right is about being paranoid about doing it wrong. You're wrong about 32-bit float, but you never want to listen to anything I say. Doesn't matter. You're a professional and know how to set your preamps. The problem is giving your viewers the wrong impression about what 32-bit-float does. Show me a test where you prove it's better than 24-bit, even 16-bit, when it comes to recording microphones.
YESSSSS! This is exactly what I did for my podcast studio. Back ups upon back ups inside of backups. I can never lose any audio ever
Awesome to hear 😄 Lance!
Thanks - very useful! I stopped half way through and started a powerpoint layout to put into my work process. Ended up spending all Saturday afternoon making process flows with this in mind! Seems a bit nerdy but .... I enjoyed it.
Learning all sorts saves you & helps navigate in different scenarios.
Thank you! That’s great advice
Clearly, professional recording engineers have spoiled the talent if they have stopped asking, "Are we recording yet?"
This is so good Javier! Not enough in this space is said about audio other than it's almost important as video. You put us on game! I don't have anywhere near the gear that you have, but I try to do a form of the same thing when I record; audio to camera and audio to an external recorder (H4n). On livestreams I record to an SSD, to a camera, and to Restream. It's a start, but I think it's a great mindset to have because you never know what will happen. It's great to see more tutorials from you Javier!
Thanks for the comment and watching Terry, Glad to hear you have some sort of redundancy going on just in case.
Thanks for that. I recently ditched my Saramonic wireless microphone setup in favor of a DJI Mic 2 wireless setup. My audio redundancy in saving a copy to the transmitter and saved my butt on my most recent video.
Just a side note of some things to consider (and I'll add a little sound pressure level cool fact below)
- Standard pro 24 bit audio can capture a dynamic range of 144 dB
- MAX spl of about 90% of mics you will ever use = +/- 120 to 140 dB
- MAX dynamic range of most mic preamps you'll use = +/- 120-130 dB
- pain threshold is around +/- 130 dB spl
- instant deafness +/- 180 dB (without hearing protection)
- Rocket launches = +/- 165-180 ( at the pad!)
- Biggest naval guns (ie on Battleships) = +/- 180-190 dB at about 1 meter from the muzzle
- DEATH = +/- 200 dB - I'm afraid hearing protection won't help here because of ruptured internal organs, collapsed lungs, catastrophic damage to brain and cardiovascular system. The physical shockwave accompanying such a high SPL is equivalent to an explosive blast.
- 32bit audio dynamic range +/- 1528 dB yep, thats a one THOUSAND, with a five HUNDRED after it.
Ok, so for clarity and perspective of the senselessness of 32bit audio recording capability....
Here's the cool spl fun-fact:
194 dB spl is generally considered the MAXIMUM POSSIBLE linear sound wave that can be supported by air. As in, Earth's atmosphere. That's because at this level the sound wave compressions are just as dense as the air (under normal atmospheric conditions).
If the peaks of the sound pressure you are trying to record matches the ambient atmospheric pressure, nothing will move, and without molecular movement (compression/rarefaction) there's NO sound. It's like pressing the palms of your hands together with the same pressure. Your hands won't move.
This simply means that any pressure above and beyond 194dB becomes a shockwave (like those from an explosion) Think of a Sonic Boom from a military jet. Big loud sound accompanied by a shockwave produced by all the pressure was was greater than 194dB.
SO, just fyi, 32bit audio is absolutely NOT needed. If you still think it is, please reread this post. Manufacturers have to keep payroll running so creating 32bit floating point recording and using flashy "it makes your audio better" type marketing has done it.
I literally had a film production company call me and say that location sound they recorded for the next TV series I would be mixing for them used 32bit audio so it was going to sound GREAT! smh
...careful when normalizing 32bit audio. You normally only need to raise level about 6-15 dB.
There is NO need to push levels into the range reserved for explosions etc!
Wow, what a super helpful video Javier!
Yeah my redundant recording has saved me the hassle of rerecording things in the past. Actually just recently when I deleted the wrong set of files. Thank you for sharing!!
I really like your videos. They are very helpful. I have used a simple "Y" splitter (1 female XLR in; 2 XLR out) and they have given me the needed redundancy and have saved me a number of times.
Awesome to hear that has worked for you! Thanks for watching dgfitz!
I usually capture audio with a lapel mic into my interface, but always capture audio into my Sony camera with a rode ntg as a backup. The best thing about this is synchronizing them in Premiere when editing and being able to sync my lapel audio with my camera footage easily. Another great video!
Awesome setup. Yes using a setup like this greatly improves syncing in post. Thanks for watching my recent vids Luis!
Good stuff!
Super awesome video!! Love your content!
Thanks for watching Walter!
Great educational video.
Amazing video man! Thanks for sharing. Love from India
Thanks Balachanderr!
Great video with a very good life lesson!
thanks for watching
I've been using the Rode Wireless Go II recording internally and in camera. Never lost audio anymore.
Another great tool I forgot to mention! Love to hear it.
As someone new, this is very helpful, would you mind sharing your approach for multiple people interviews such as single, 2 person, 3 person interviews etc???
That’s why I use a Tascam X8 recording while audio is going from that into my camera, or use the Rodecaster to record if I am recording in eCamm.
Question: On the camera, did you enable phantom power too? And what about technical noise- is there any additional noise when you add the splitter?
Sir i am doing freelance and learning to much essential knowledge from you i like your teaching style keep it up and stay blessed ❤❤
Glad it helps and thanks for watching!
In what ways does the cheap brand splitter color the mic output - and to what extent? E.g., fidelity, signal to noise, etc.?
Great man! Thanks for sharing. It would be awesome to take this conversation to post too!
That's an awesome reminder to have! Just imagining that scenario you said about John Cena gives a heart attack.
Personally at a lower level working run & gun I use a simple Y splitter that splits the left and the right audio channels, so I can put two mics, usually one is the wireless lav and the other is the shotgun on the camera
Javier, let me ask, how does one eliminate the echo coming from two microphones near each other? I've done recordings using a pair of Shure 7M7B's where the audio from one of my speakers was going into the other speaker's microphone and caused a slight echo. It's really annoying. Thx
I manually mute the mic when the speaker isn't talking, gets rid of the echo. Takes longer to edit content this way, but it sounds much better in my opinion. You can also experiment with the AutoPod plug-in too. th-cam.com/video/ynAJszzZg4Y/w-d-xo.htmlsi=T2TcZ4ofnNZKoGJW
@@JavierMercedes yeah, I've tried that. The issue is you never know when the other speaker is going to pipe up and catch me off guard. It's a real hassle. Thx though.
Doing a job right is about being paranoid about doing it wrong. You're wrong about 32-bit float, but you never want to listen to anything I say. Doesn't matter. You're a professional and know how to set your preamps. The problem is giving your viewers the wrong impression about what 32-bit-float does. Show me a test where you prove it's better than 24-bit, even 16-bit, when it comes to recording microphones.
Benz