The lav -vs- X/Y micing is an example of the importance of the roll of a location sound mixer. Someone has to be monitoring and checking the on-set realtime mix given to post production for each shot. This includes tasks as simple as mixing 3 mics down to mono to minimize post production audio work. In boom N bag work, this is one of your many responsibilities.
The problem, Robert is every mic on set has a different acoustic arrival time… If you mix them all down to mono or a 2-Mix for the picture editors, you still have to track them separately for the sound editors… That is, Unless you’re a really good old-school sound mixer and you know exactly what you’re doing when you combine mics on set! Once upon a time people had no choice… they followed the script line by line.
Hmm, I would say that the convolution reverb is based on samples. Normally filter sweeps or bangs. So it is working exactly the way the question thinks it works behind the interface. Altiverb can even take into account which slate was used to create the clap to more accurately represent the room reverb.
Yeah, convolution reverb uses an audio sample (called an impulse response) to recreate the acoustical properties of a space. The audio file is normally made with a sine sweep or a full-frequency noise blip. A clap wouldn’t be ideal since the timbre and ‘frequency response’ of the clap would be accounted for in the impulse response. Source: degree in Audio Engineering and Sound Production
a comment on the convolution reverb, we can sample a room tone with sweep files and responses right? Waves IR, altiverb and space designer in logic do let us create our own IR's.Libraries in convolution reverbs are actual sampled spaces or hardwares. Designer plugin compares the sweep files and the recorded files for differences and that would be characteristics of the space or hardware. That's the reason they sound natural but also resource hungry since its an audio sample enveloping the input signal real time...
What is the best use scenario of a Low cut? Mic switch/ on recorder / EQ on the post. When you have to use Low cut switch on the mic and when it's better used in post-production?
You may have mentioned this in a previous episode, forgive the question, I use the Vmic D3 Pro for my content, should I ditch the foam pop filter as you have here? I will sometimes boom it but mostly it sits on my table about 1.5 feet away aimed up to my face. Thank you😉
Do you have any ideas on how to set-up a cheap (or DIY) IFB system? Comteks or other wireless systems tend to cost the same as the ones we use as microphones...
I often get the impression that some people think that it shouldn't take very long to develop a new microphone or wireless system - e.g., "...gosh, why isn't the XYZ microphone shipping yet! They announced that way back in April..." Now that you guys have a bunch of these products under your belts and shipping, what are the challenges that make it so that we must exercise a touch of patience while waiting for your new lavaliers, hyper pencil, XLR TX and other products? 😀
As a product engineer, I would say industrialization. Ordering the final tools for mass production, getting the quality of the parts and end-assembly consistent before releasing the product.
I know this is an old video but do you have something to tell me how to setup 2 dynamic mics for people sitting about 3ft apart without having sound spill? Thank you!
I have heard that you should always put mono recordings (like dialogue) on a mono track (because it is somehow more in the center), but I have always put my dialogue on a stereo track. Is there any difference between those two alternatives, or is it the same?
What does it mean stereo matched mics set? Should you match the capsules or entire mic? If I will get 2 cardioid capsules with the identical serial number (1005 and 1006) will it work?
*sir I have a question with my Deity D3 pro. Why do my footage have this sudden pop sound? It seems like that pop is record when I start the record for it only pops at the start of the footage.*
Victor Sidharta yeah, I ask myself this all of the time. I'm in this situation a lot. Lately I've been integrating small condensers (cardioid) and shotgun mics positioned just outside of frame above the interviewees. It means I have to use an external recorder for 3, 4 and 5 inputs and also that I have to be hyper aware of weird phase issues when blending them in in post... Which can be tricky sometimes. If you're not a meticulous and detailed person however, you might try relying solely on the effects and plug ins in audition. EQ, compression, reverb, etc... I'd really like to see an episode on these issues myself. Because I'm doing a lot of guess-work. Do I treat each source individually with compression or EQ if needed? Or only on the master? Treating them individually seems to introduce weirdness sometimes- am I doing something wrong? Lots of questions.
Is there an easy way to record line-level input on a Zoom H4n? I went from a Zoom H1 to the H4n and was surprised that there was not a simple way to connect a line-level input to the H4n. Did I get the wrong tool for the job?
Hey guys, I need help, I don’t know how to record 3 people from my iPhone in interview format.... Lavalier mic duo exist, ok perfect to record 2 people directly on my iPhone. But triple lavalier does not exist, or what ? Handle mic is cool but looks so awkward passing hands to hands to hands lol Worst if I want 4 people lmao Thank you
at 3:00 Frederico asks a very good question. And I think guys your answer is not really true: Convolution is a technique beyond reverb,; it's used to recreate a space but also a tone ( like a specific guitar amp, a telephone effect...) Check Space designer in logic pro for example and you'll see some convolution wich are not spaces. So I think you technique would actually work and here one tuto how to make your own th-cam.com/video/XWwgeg1lcXQ/w-d-xo.html
When have you had more people than mics? How'd you solve the problem?
The lav -vs- X/Y micing is an example of the importance of the roll of a location sound mixer.
Someone has to be monitoring and checking the on-set realtime mix given to post production for each shot.
This includes tasks as simple as mixing 3 mics down to mono to minimize post production audio work.
In boom N bag work, this is one of your many responsibilities.
The problem, Robert is every mic on set has a different acoustic arrival time… If you mix them all down to mono or a 2-Mix for the picture editors, you still have to track them separately for the sound editors…
That is, Unless you’re a really good old-school sound mixer and you know exactly what you’re doing when you combine mics on set! Once upon a time people had no choice… they followed the script line by line.
Damn, I litterally had 2 mics and 3 people a week ago... Thank you guys for your awsome work and videos!
I love the Video I am loving my Deity V-Mic D3 and the V.Lav I hope to get another V.Lav one day
Hmm, I would say that the convolution reverb is based on samples. Normally filter sweeps or bangs. So it is working exactly the way the question thinks it works behind the interface. Altiverb can even take into account which slate was used to create the clap to more accurately represent the room reverb.
Very cool, we'll have to look into that!
Yeah, convolution reverb uses an audio sample (called an impulse response) to recreate the acoustical properties of a space.
The audio file is normally made with a sine sweep or a full-frequency noise blip.
A clap wouldn’t be ideal since the timbre and ‘frequency response’ of the clap would be accounted for in the impulse response.
Source: degree in Audio Engineering and Sound Production
Question: can I buy you guys a beer? Seriously love how much knowledge you share and can pack into these videos.
Always informative! Thanks! 👍
Thanks for the answer! I think I might just have to go with the lavs and extra work. Keep an eye out for my v.lav order!
Thanks for the battery tip, very helpful, DAVE 👍
Wow. Great information! I am one of your newest fans and customers. Keep em coming....
Jeff Waldrop
a comment on the convolution reverb, we can sample a room tone with sweep files and responses right? Waves IR, altiverb and space designer in logic do let us create our own IR's.Libraries in convolution reverbs are actual sampled spaces or hardwares. Designer plugin compares the sweep files and the recorded files for differences and that would be characteristics of the space or hardware. That's the reason they sound natural but also resource hungry since its an audio sample enveloping the input signal real time...
Good to know, we have a lot more to play around with, thanks!
What is the best use scenario of a Low cut? Mic switch/ on recorder / EQ on the post. When you have to use Low cut switch on the mic and when it's better used in post-production?
Unexpected micro shoutout lol
Good work as always guys!
Hey thanks - you too!
You may have mentioned this in a previous episode, forgive the question, I use the Vmic D3 Pro for my content, should I ditch the foam pop filter as you have here? I will sometimes boom it but mostly it sits on my table about 1.5 feet away aimed up to my face. Thank you😉
Thanks a lot for the answer!
Hey Riccardo, Can you add an email address to your profile so we can get in touch and send you your prize?
@@DeityMicrophones Just done, it should be visible now
What do you think about using 4 V3 pros out of frame for a podcast set up?
Do you have any ideas on how to set-up a cheap (or DIY) IFB system? Comteks or other wireless systems tend to cost the same as the ones we use as microphones...
I often get the impression that some people think that it shouldn't take very long to develop a new microphone or wireless system - e.g., "...gosh, why isn't the XYZ microphone shipping yet! They announced that way back in April..." Now that you guys have a bunch of these products under your belts and shipping, what are the challenges that make it so that we must exercise a touch of patience while waiting for your new lavaliers, hyper pencil, XLR TX and other products? 😀
As a product engineer, I would say industrialization. Ordering the final tools for mass production, getting the quality of the parts and end-assembly consistent before releasing the product.
How do I use Deity V-Mic D3 on a Boom Pole?
I know this is an old video but do you have something to tell me how to setup 2 dynamic mics for people sitting about 3ft apart without having sound spill? Thank you!
Can you make one shotgun mic with two slot of 3.5 to be connected to two audio recorder
I have heard that you should always put mono recordings (like dialogue) on a mono track (because it is somehow more in the center), but I have always put my dialogue on a stereo track. Is there any difference between those two alternatives, or is it the same?
What does it mean stereo matched mics set? Should you match the capsules or entire mic? If I will get 2 cardioid capsules with the identical serial number (1005 and 1006) will it work?
How do you record a choir (5-10 people) when there are no choral mics available?
Hey guys I need a headphone for mixing and monitoring, is the sennheiser Hd 280 pro any good or should I buy any other headphone??
I wish those T-Shirts were avail as well!
Hi! How would you record audio in a big hall from around 10 meters away?
*sir I have a question with my Deity D3 pro. Why do my footage have this sudden pop sound? It seems like that pop is record when I start the record for it only pops at the start of the footage.*
Can i buy those sweet tshirt? Where can i get one?
How do you enhance an interview audio coming from a lav mic in post? I'm using A.lav with premiere pro and audition
Victor Sidharta yeah, I ask myself this all of the time. I'm in this situation a lot. Lately I've been integrating small condensers (cardioid) and shotgun mics positioned just outside of frame above the interviewees. It means I have to use an external recorder for 3, 4 and 5 inputs and also that I have to be hyper aware of weird phase issues when blending them in in post... Which can be tricky sometimes. If you're not a meticulous and detailed person however, you might try relying solely on the effects and plug ins in audition. EQ, compression, reverb, etc...
I'd really like to see an episode on these issues myself. Because I'm doing a lot of guess-work. Do I treat each source individually with compression or EQ if needed? Or only on the master? Treating them individually seems to introduce weirdness sometimes- am I doing something wrong? Lots of questions.
What about four people and only three lavs? and 4 xlr hook ups....
Is there an easy way to record line-level input on a Zoom H4n? I went from a Zoom H1 to the H4n and was surprised that there was not a simple way to connect a line-level input to the H4n. Did I get the wrong tool for the job?
The 1/4" TRS inputs in the combo XLR TRS inputs are line level.
Or the 3.5mm jack on the bottom side underneath the build in mics
Did you not actually talk about micing three people with 2 mics or did I just completely miss it?
Hey guys, I need help, I don’t know how to record 3 people from my iPhone in interview format....
Lavalier mic duo exist, ok perfect to record 2 people directly on my iPhone.
But triple lavalier does not exist, or what ?
Handle mic is cool but looks so awkward passing hands to hands to hands lol
Worst if I want 4 people lmao
Thank you
Wsup max, have you found a solution for that? I’m in the same boat
@@trideez3768 not really bro. You can have one handle mic 🎤 and people just share it
at 3:00 Frederico asks a very good question. And I think guys your answer is not really true:
Convolution is a technique beyond reverb,; it's used to recreate a space but also a tone ( like a specific guitar amp, a telephone effect...)
Check Space designer in logic pro for example and you'll see some convolution wich are not spaces.
So I think you technique would actually work and here one tuto how to make your own
th-cam.com/video/XWwgeg1lcXQ/w-d-xo.html
Can you send me a deity shirt xl ;)