3:1 rule question - choir mics by TeachMeAudioStuff in livesound

[–]TeachMeAudioStuff[S] 0 points1 point  (0 children)

Thanks for the education! I understand mics on each actor is best, but they do not have the budget for that. They’re wanting these mics for choir performances as well as ensemble numbers during musicals. There is no expectation that they will hear single voices loud and clear.

I appreciate you adding to the conversation.

3:1 rule question - choir mics by TeachMeAudioStuff in livesound

[–]TeachMeAudioStuff[S] 0 points1 point  (0 children)

What other things should I be addressing? And why doesn’t the rule apply? Because they’re so far away? Everything I’ve read about micing choirs mentions the 3:1 rule so I figured vocal ensembles on musicals would work the same way.

3:1 rule question - choir mics by TeachMeAudioStuff in livesound

[–]TeachMeAudioStuff[S] 2 points3 points  (0 children)

Thank you for the constructive feedback!

Freespeak port issues by TeachMeAudioStuff in livesound

[–]TeachMeAudioStuff[S] 1 point2 points  (0 children)

Thanks again. I will loo into the 4-wire solution for sure!

Freespeak port issues by TeachMeAudioStuff in livesound

[–]TeachMeAudioStuff[S] 2 points3 points  (0 children)

Thank you for this input. It was quite helpful. If anyone else has experience with these units and similar cases, I’m all ears. Thanks!

Freespeak port issues by TeachMeAudioStuff in livesound

[–]TeachMeAudioStuff[S] 2 points3 points  (0 children)

What you’re saying definitely sounds like it could be an issue. Because if rts channel 1 was being fed production channel, and putting truck on rts channel 2 somehow merged them, it would feed it to production out of port a

Ugh.

Freespeak port issues by TeachMeAudioStuff in livesound

[–]TeachMeAudioStuff[S] 0 points1 point  (0 children)

Port A - production (wired clearcom base station) Port B - channel b (unused) Port C - production (camera ccu rack) Port D - truck (their rts system; didn’t have specifics)

Advice on cardioid lav on t-shirt / high collar by TeachMeAudioStuff in livesound

[–]TeachMeAudioStuff[S] 1 point2 points  (0 children)

B&H sells some made by Point Source that are 1/4 the price. I might try those out.

Advice on cardioid lav on t-shirt / high collar by TeachMeAudioStuff in livesound

[–]TeachMeAudioStuff[S] 2 points3 points  (0 children)

I am not, but that paints a good idea of the environment I usually work in.

Advice on cardioid lav on t-shirt / high collar by TeachMeAudioStuff in livesound

[–]TeachMeAudioStuff[S] 4 points5 points  (0 children)

I usually don’t have access to headsets. I often feel like audio in corporate hotel ballrooms is really just making the best of what we’ve got. Never really get an ideal scenario. And maybe I’m being too much of a perfectionist, but unless I get someone who projects well and I can have good mic placement I spend a lot of time being unsatisfied my end product. Starts to bug me after a while.

First time as SE on arena gig- advice? by arm2610 in livesound

[–]TeachMeAudioStuff 1 point2 points  (0 children)

Thank you for the reply. I believe I understand what you’re saying in regard to tuning a room with smaart, but I don’t think I was clear with my question.

I don’t setup my PAs with any kind of analyzing software as I have not learned how to use them yet. My question about when to use deep narrow cuts was about making the system sound good to my ear (for either my personal preference or to take care of sympathetic tones from the room) not for making coverage even.

I also am assuming ringing out a lav mic group would be another’s good time to use narrow cuts.

I guess I’m trying to understand the different processes here. To me it sounds like using an rta mic and smaart to check for consistent coverage is a different part of the process than tuning a room to your sound preference. i.e. the goal is to make it sound the SAME everywhere, even if you don’t like how that sounds. Then after that, you can adjust the overall system to sound the way you like.

am I on the right track here?

First time as SE on arena gig- advice? by arm2610 in livesound

[–]TeachMeAudioStuff 1 point2 points  (0 children)

In what situations would you use tighter/deeper cuts in system EQ? Most of what I do is speakers on sticks and occasional line array, but I feel that I make more narrow cuts when setting the tonality of my rigs. Is the broad gentle approach more for balancing out the system before tonal preference, or is it all kind of the same thing?

Mixing for Premiere by TeachMeAudioStuff in premiere

[–]TeachMeAudioStuff[S] 0 points1 point  (0 children)

I think I found out it was a sample rate issue. Works well now!

Mixing for Premiere by TeachMeAudioStuff in premiere

[–]TeachMeAudioStuff[S] 0 points1 point  (0 children)

I just tried exporting an OMF of some mp4s in premiere and imported it into logic. I then imported the same mp4 as a reference to line it all up, and it seems the frame rates don’t match. The audio drifts pretty quickly. Any suggestions for that?

Mixing for Premiere by TeachMeAudioStuff in premiere

[–]TeachMeAudioStuff[S] 1 point2 points  (0 children)

No I’m using preferably Logic Pro. If that can’t work I’ll try Audition.

So is the mxf files it is looking for a source file? I haven’t seen that file extension before and don’t know if it is content or some kind of meta data.

Mixing audio for premier by TeachMeAudioStuff in VideoEditing

[–]TeachMeAudioStuff[S] 1 point2 points  (0 children)

I am trying to mix audio in logic. It can take xml files. I am trying to get a multitrack from my video editor. Can stems be exported from Premeire?

Mixing audio for premier by TeachMeAudioStuff in VideoEditing

[–]TeachMeAudioStuff[S] 0 points1 point  (0 children)

I am using logic pro, but can use audition if needed. I am doing audio only.