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# Contents$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$% % &EA' T()S F)&ST* Fund!+ent!l Principles$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$, %$# )ntroduction$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$, %$% Sign!l-to-Noise &!tio -SN&.$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$, %$%$# /pti+i0e Sign!l$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$, %$%$% Mini+i0e Noise$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$, %$1 SA/NA - SE/NE - CYA Methodology )ntroduction$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$2 1 SA/NA * SE/NE * CYA Methodology$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$3 1$# GET T(E M)C C4/SE$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$3 1$#$# )n5erse-S6u!re 4!7 -SA.$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$3 1$#$% Mic Pl!ce+ent E8!+ple9 "!c:ground Noise -SA/NA.$$$$$$$$$$$$$$$$$$$$$3 1$#$1 Mic Pl!ce+ent E8!+ple9 Mic Noise -SA/NE.$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$3 1$#$, Fund!+ent!l &ule9 GET T(E M)C C4/SE -SA/NA.$$$$$$$$$$$$$$$$$$$$$$$$$$$; 1$% Microphone "!sics$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$; 1$%$# "!l!nced 5s <n=!l!nced Sign!ling -NE.$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$; 1$%$% 'yn!+ic 5s Condenser Mics$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$> 1$%$1 Ph!nto+ Po7er$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$> 1$1 Selection o? Mic Pol!r P!ttern$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$@ 1$1$# Mic Pol!r P!tterns$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$@
3.1.!.1 "#$s to get the %ic Close............................................................................................................. &
1$1$% E8!+ples o? Pol!r P!tterns !nd SN& -SA/NA.$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$#A 1$1$1 SoB Ch!tDs !n /+ni ForE$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$## 1$1$, Misuse o? Shotgun Mics$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$## 1$, /ther Noise-Acoustic Sources$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$## 1$,$# Echo -NA.$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$## 1$,$% Cind Noise -NA.$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$## 1$,$1 (!ndling Noise -NA.$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$#% 1$2 Mini+i0ing Noise-Electronic -NE.$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$#% 1$2$# Noise Figure o? C!sc!ded A+pli?iers$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$#% 1$2$% <se "!l!nced F4& Microphones$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$#% 1$3 /pti+i0ing Sign!l-Electronic -SE.$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$#% 1$; CYA$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$#1
3.2.1.1 -.#(+le / C#non 3,LR............................................................................................................. 12 3.3.2.1 ,election -.#(+le / Choir on ,t#ge, Fidget$ Audience.............................................................10 3.3.2.2 ,election -.#(+le / 0oo( Actors on Couch in Living Roo(, Fidget$ Cre1 0ehind C#(er#....10
, Speci!li0ed Topics$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$#, ,$# Production Flo7 /ptions$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$#, ,$#$# C!+er! Mounted <n=!l!nced Mic -such !s GideoMic.$$$$$$$$$$$$$$$$$#, ,$#$% 4o7 Noise Pre!+p -Huiced4in:.$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$#, ,$#$1 E8tern!l &ecorder$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$#, ,$#$, 'u!l Syste+$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$#, ,$% #3=it ,>I(0 5ersus %,=it @3I(0 Audio &ecording$$$$$$$$$$$$$$$$$$$$$$$$$$$$$#2 ,$%$# 'oes %,=it @3I(0 Sound "etterE No J$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$#2 ,$%$% 'oes %,/@3 &ecord "etter SN& ?or 'i!logue 7ith ! MicE No $$$$$$$#2 ,$1 Microphone &eco++end!tions$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$#3 ,$1$# Shotgun Microphones$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$#3 ,$1$% Cired 4!5!liere$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$#3 ,$1$1 Cireless Syste+$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$#3 ,$, <nderst!nding Mic Speci?ic!tions$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$#3
Get re#d$. 4ou 1ere #5out to le#rn # ton o6 in6or(#tion, in # short +eriod o6 ti(e. 7o (#ke it digesti5le 6or $ou, 1e8ve develo+ed the 9SA/NA - SE/NE - CYA9 %ethodolog$, so $ou 1ill 5e #5le to ret#in 1h#t $ou8ve le#rned, #nd :uickl$ 5e #5le to +ut it into +r#ctice. ;t onl$ t#kes #dherence to these three ste+s to #chieve :u#lit$ #udio on # 5udget ... 7his docu(ent is still # 1ork in +rogress. "e 1ill #lso 5e #dding (ore content l#ter. %#ke sure the su5scri5e to the juicedLink 5log, to get noti6ied 1hen u+d#tes #re #v#il#5le. "hen $ou8re out on F#ce5ook<71itter<Foru(s hel+ing $our colle#gues, ; 1#nt to see $ou s+re#ding the 1ord on =SA/SA SE/NE CYA>. 7h#t 1#$, ; 1ill kno1 th#t ;8ve done ($ jo5 1ith this 6ield guide ... ? Ro5ert 6ro( juicedLink
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7he (#in o5jective 6or recording :u#lit$ #udio, is $ou 1#nt to o+ti(i@e the sign#l?to?noise r#tio A,BRC in $our recording. 7he 6igure 5elo1 re+resents 1h#t # s+ectru( +lot 1ould look like 6or # tone th#t sign#l. 7he vertic#l #.is is the #(+litude, #nd the hori@ont#l #.is is the 6re:uenc$. 7he vertic#l #rro1 re+resents the (#gnitude o6 the tone sign#l level. 7he hori@ont#l line #t the 5otto( re+resents the level o6 so(e 5ro#d5#nd noise. 7he di66erence 5et1een the #rro1 #nd hori@ont#l line re+resents the sign#l?to?noise r#tio A,BRC.
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Clipping Level
0#ckground noise -cho "ind noise *#ndling noise -lectro(#gnetic inter6erence -lectronic noise
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,AA** G BAA** G ,-- G B-- G C4A G it rolls right o66 the tongue. ,#$ it out loud # 6e1 ti(es. Re(e(5er it. "hen $ou #re in the 6ield, this 1ill 5e $our check to 5e sure th#t $ou #re not neglecting #n$thing in $our #udio +roduction 6lo1. "e h#ve #lre#d$ (entioned ho1 it is #ll #5out sign#l?to?noise r#tio A,BRC. 0ut, there8s # lot o6 co(+onents th#t go into it, #nd ho1 do $ou re(e(5er it #llD selecting the right (icro+hone, (icro+hone +l#ce(ent, (icro+hone orient#tion, 1h#t settings to use on the c#(er#, 1h#t settings to use on the +re#(+li6ier, (#king $our recording resilient to une.+ected events ... ,o, let8s 5re#k things do1n into s(#ller chunks ... Let8s 6irst consider ,BR on the #coustic side o6 things. ,o, 9 SA/NA9 re6ers to the 9,ign#l?Acoustic < Boise Acoustic9 r#tio. Consider#tions th#t $ou 1ill le#rn #s 1e go through this (ethodolog$ includeD ,electing the right (ic Ao(ni, c#rdioid, h$+erc#rdioid, shotgun, l#vC 6or the jo5 A SA/NAC Getting $our sources 1ithin the (ic #cce+t#nce #ngle ASAC 7ucking noise sources A#ir conditioner vents, the cre1C into (ic nulls A NAC *o1 to get the juiciest sign#l into $our (ic 6ront end A SAC %ini(i@ing 1ind #nd h#ndling noise ANAC
7hen consider ,BR on the electronics side o6 things. ,o, 9 SE/NE9 re6ers to 9,ign#l?-lectronics < Boise? -lectronic9 r#tio. Consider#tions th#t $ou 1ill le#rn #s 1e go through this (ethodolog$ includeD "hen do $ou need # re#ll$ no1 noise (ic ANEC ,electing # (ic to (ini(i@e electro(#gnetic inter6erence A NEC "h#t settings to use on the c#(er#<recorder A SE/NEC *o1 to use # lo1?noise +re#(+ to i(+rove ,BR o6 nois$ c#(er#s #nd recorders A SE/NEC
7hen, o6 course, 1e need to +ut it #ll together into # +rocess to (#ke sure th#t there8s no scre1?u+s, #nd 1e Cover 4ou Arse, or 9CYA9. Consider#tions th#t $ou 1ill le#rn #s 1e go through this (ethodolog$ includeD Hsing Audio 0r#cketing 6or c#(er# overlo#d +rotection A CYAC "h$ onl$ # 6ool neglects to 1e#r he#d+hones ACYAC "h#t ste+s to #dd to ($ +roduction 6lo1 i6 ($ c#(er# does not h#ve he#d+hones or (eters visi5le 1hile recording ACYAC
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,o, the dist#nce the (ic is 6ro( the source h#s # *HG- e66ect on the #(ount o6 sign#l th#t (#kes it into the 6ront end o6 the (icro+hone. Let8s (#ke note th#t the inverse s:u#re l#1 h#s # +ro6ound i(+#ct on the =,ign#l? Acoustic> ASAC in the =SA/NA SE/NE CYA> %ethodolog$.
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Fro( the t1o +lots, $ou c#n see the (ic sign#l level 1hen 6#r #1#$ 6ro( the su5ject s+e#king is (uch lo1er 5ec#use o6 the inverse?s:u#re l#1 #ttenu#ting the sound +ressure level #t # gre#ter dist#nce, 1hile the 5#ckground noise o6 the #(5ient sign#l level re(#ins the s#(e. Corres+ondingl$, the di66erence 5et1een the sign#l level #nd noise level 6or the (ic +l#ced 6urther #1#$ is (uch lo1er th#n 1hen the (ic is +l#ced close to the su5ject 1ho is s+e#king. ,o, to o+ti(i@e the ,ign#l?Acoustic<Boise?Acoustic ,BR, or = SA/NA>, going into the 6ront end o6 the (icro+hone, G-7 7*- %;C CL',- JJJ
3.1.(.1 /a0s to get t1e Mi .lose %ounting # (ic on to+ o6 $our c#(er# is 6ine 6or run?n?gun +#+#r#@@i st$le shooting. 0ut, 1hen $ou 1#nt :u#lit$ di#logue, $ou B--3 7' G-7 7*- %;C 'FF 7*- CA%-RA AB3 CL',-R 7' 4'HR ,H0K-C7. Hse # 5oo( +ole #nd 5oo( o+er#tor ,et u+ the (ic on # C?st#nd Hse # h#nd held (ic Hse # l#v#liere Pl#nt # (ic in $our scene A5ehind # +l#nt, co(+uter (onitor, co66ee cu+C
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Microphone "!sics
"h#t8s the +ointF 7he #dv#nt#ge o6 # 5#l#nced sign#l is th#t # receiver c#n 5e designed in the +re#(+ 1hich 1ill c#ncel undesired sign#ls th#t get onto the ,ign#l M ;nverted ,ign#l conductors o6 # 5#l#nced line. 7his is kno1n #s Co((on %ode Rejection. ,o, 5#l#nced sign#ling is (uch less susce+ti5le to +icking u+ electro(#gnetic inter6erence th#t c#n get onto (ic c#5les ... %;B;%;N;BG B';,-. 7his hel+s lo1er the Boise? -lectronic ANEC co(+onent 6or o+ti(i@ing ,BR.
"h#t does this (e#n in +r#cticeF 4ou 1#nt to h#ve long c#5le runs use 5#l#nced sign#ling. ,o, so(ething like the Rode Oideo%ic Aun5#l#nced shotgun (icC is 6ine 6or use on c#(er# Ashort c#5le runC. 0ut $ou 1ill 1#nt to use so(ething like the Rode B7G2 A5#l#nced LLR shotgun (icC 1hen $ou #re 5oo(ing to get the (ic close 6or :u#lit$ di#logue. ,o, # 5#l#nced LLR (ic like the B7G2 is (ore vers#tile, #s it c#n 5e used 5oth on c#(er#, or 1ith # c#5le 5oo(ed o66 c#(er# A6or 5est di#logue ,BRC.
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3.3.1.2 .ar'ioi' PA77-RB H+side do1n =he#rt> G =c#rdio> G get it G "ide 6ront end #cce+t#nce #ngle Attenu#tes sign#ls 6ro( the 5#ck Anull directl$ 5ehind (icC A s(#ll #(ount o6 #ttenu#tion 6ro( the sides APPL;CA7;'B "hen $ou need # 1ide 6ront end #cce+t#nce #ngle #nd #ttenu#tion 6ro( the re#r
3.3.1.3 -0per ar'ioi' PA77-RB Attenu#tes 6ro( the sides # little (ore th#n # c#rdioid 2 nulls #t o66set #ngles in the 5#ck ,t#rts #cce+ting (ore sign#l through # re#r lo5e APPL;CA7;'B, 3irection#l 6ront end #nd decent side rejection Clever use o6 nulls 6or #ttenu#ting noise sources *$+erc#rdioid c#+sule is o6ten selected 6or use in conjunction 1ith #n inter6erence tu5e to cre#te # shotgun (icro+hone
3.3.1.( S1otgun EuestionsF Cont#ct juicedLink ,*'7GHBD ) ? ju(+ to C'B7-B7, Get L#test e0ook Revision
Constructed o6 direction#l c#+sule Asuch #s h$+erc#rdioidC +lus #n inter6erence tu5e B#rro1 6ront #cce+t#nce #ngle ,igni6ic#nt #ttenu#tion 6ro( the sides. 7his is the (#in 6e#ture o6 # shotgun (ic. 7here #re t$+ic#ll$ # nu(5er o6 lo5es on the sides #t # lo1 level Athis +lot sho1s # single lo5e on 5oth sidesC. ,t#rts #cce+ting (ore sign#l through # re#r lo5e Longer inter6erence tu5e R (ore side rejection APPL;CA7;'B, ,itu#tions c#lling 6or the (ost directivit$ #nd side rejection Cre#te # 9circle o6 silence9 #round $our su5ject 5$ h#ving the shotgun +oint ne#rl$ str#ight do1n or ne#rl$ str#ight u+, rejecting the sign#ls entering into its sides.
3.3.2.1 Sele tion "#ample 8 .1oir on Stage9 )i'get0 6u'ien e ,C-BAR;' Choir on st#ge ,ign#l?Acoustic ASAC source e(#n#ting 6ro( l#rge geo(etric #re# Fidget$ Audience Boise?Acoustic ANAC 5ehind the (icro+hone ABAL4,;, 'F 'P7;'B, '%B;D Bot ver$ good choice, #s it 1ill #cce+t the noise A NAC 6ro( the #udience 5ehind the (icro+hone *4P-RCAR3;';3D Bot # good choice, #s it 1ill #cce+t the noise A NAC 6ro( the #udience 5ehind the (icro+hone vi# its re#r lo5e ,*'7GHBD Bot # good choice #s it h#s too n#rro1 o6 #n #cce+t#nce #ngle to #cce+t the sign#l ASAC 6ro( the 6ull 1idth o6 the choir, #nd it 1ill #cce+t the noise A NAC 6ro( the #udience 5ehind the (icro+hone vi# its re#r lo5e CAR3;';3D Gre#t choice #s it h#s # ver$ 1ide #cce+t#nce #ngle to #cce+t the sign#l A SAC 6ro( the 6ull 1idth o6 the choir, #nd it 1ill reject the noise A NAC 6ro( the #udience 5ehind the (icro+hone 1ith its re#r null
3.3.2.2 Sele tion "#ample 8 %oom 6 tors on .ou 1 in Living *oom9 )i'get0 .rew %e1in' .amera ,C-BAR;' 0oo( Actors on Couch in Living Roo(, Fidget$ Cre1 0ehind C#(er# ,ign#l?Acoustic ASAC source e(#n#ting 6ro( loc#li@ed geo(etric #re# Fidget$ Cre1 Boise?Acoustic ANAC 5ehind the c#(er# ABAL4,;, 'F 'P7;'B, '%B;D Bot ver$ good choice, #s it h#s no directivit$ to isol#te the loc#li@ed #ctors CAR3;';3D Bot # ver$ good choice 5ec#use i6 $ou 1ere to 5oo( 1ith #n orient#tion to tuck the 6idget$ cre1 into the re#r null o6 the (ic, the (ic 1ould 5e in the vie1 o6 the c#(er# *4P-RCAR3;';3D A good choice to 5oo( 6ro( #5ove 1ith the (ic orient#tion #ngle such th#t the 6idget$ cre1 1ill 5e #ligned 1ith one o6 the re#r nulls ,*'7GHBD A good choice to 5oo( 6ro( #5ove 1ith the (icro+hone #ngle such th#t the 6idget$ cre1 1ill 5e #ttenu#ted 5$ the (ic side rejection. *o1ever, $ou (ust 5e c#re6ul #5out echo. ,ee 10 ? ju(+ to C'B7-B7, Get L#test e0ook Revision
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All recording devices Ac#(er#s, recordersC 1ill h#ve noise #ssoci#ted 1ith it. ;t 1ill v#r$. C#(er#s #re t$+ic#ll$ not ver$ good. Recorders c#n v#r$ gre#tl$ 6ro( e.cellent to +rett$ +oor.
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"e 1#nt to (#ke the sign#l is high #s +r#ctic#ll$ +ossi5le. 0ut, there8s one constr#int, 1hich is electronic recording e:ui+(ent h#s # (#.i(u( sign#l th#t it c#n h#ndle 5e6ore it st#rts cli++ing. ,o, $ou 1#nt to le#ve so(e he#droo( 5elo1 the cli++ing level Ato+ line in the 6igure #5oveC, to #llo1 6or 6luctu#tions in the sign#l level. EuestionsF Cont#ct juicedLink 12 ? ju(+ to C'B7-B7, Get L#test e0ook Revision
,o, 1h#t is t$+ic#ll$ done is to #djust the sign#l level so the (eters in $our recording device Arecorder or c#(er#C +e#k #t #5out ?12d0 Full ,c#le. 7''L, %eter Potentio(eter on Pre#(+li6ier ,o(e recorders h#ve rocker 5uttons 6or #djusting the sign#l level. "hen $ou need to :uickl$ 6ine tune #n #djust(ent, hitting # rocker 5utton t#kes too long. ,i(il#rl$, it 1ill t#ke too long to go into the c#(er# 6ir(1#re #nd 6u(5le 1ith the (enu s$ste( 6or :uickl$ (#king sign#l level #djust(ents. 7he juicedLink lo1?noise +re#(+s h#ve 6ront +#nel +otentio(eters 6or this +ur+ose.
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CYA
"e#r *e#d+hones 7he (eter 1on8t tell $ou i6 $our (ic is +oorl$ oriented, or i6 $ou h#ve too (uch 1ind<h#ndling<5#ckground noise, etc Hse colored electric#l t#+e to color?code $our (ics #nd connectors 1ith their +h#nto( +o1er re:uire(ents, to ensure $ou don8t i(+ro+erl$ use +h#nto( +o1er #nd +otenti#ll$ d#(#ge $our e:ui+(ent. ,ee Phantom Po e! section 6or (ore det#ils. Co#ch $our t#lent<#ctors reg#rding ho1 the #udio is 5eing c#+tured ;6 $ou #re using direction#l (ics, let the( kno1 1here to +roject their voice, #nd 1here the$ c#n not look #1#$ #nd s+e#k ;6 $ou #re using l#v (ics, let the( kno1 the$ need to (ini(i@e the rustle o6 clothing Hsing Audio 0r#cketing 6or c#(er# overlo#d +rotection 1hen +ossi5le 7he juicedLink Rigg$?%icro #nd Rigg$?Assist +re#(+s h#ve # uni:ue 6e#ture c#lled Audio 0r#cketing Consider, 6or e.#(+le, one o6 the 3LLR in+ut +re#(+s, like the Rigg$?Assist RA333 or Rigg$?%icro R%333 ;t h#s 3 LLR in+utsD LLR?L1 LLR?L2 LLR?R And, the c#(er# h#s 2 recording tr#cks Aright<le6tC. 7here is # %'B'<,7-R-' s1itch. ;n the ,7-R-' setting, LLR?L1 #nd LLR?L2 #re routed to the le6t ch#nnel o6 the c#(er#, #nd LLR?R is routed to the right ch#nnel. ;n %'B', #ll (ics #re (i.ed together, #nd +resented to 5oth the right #nd le6t out+ut. "hen the Audio 0r#cketing s1itch is turned on AR+#dC, then the right ch#nnel is #ttenu#ted 5$ #5out 1Id0. 4ou 1ould use this in the %'B' setting, so $ou h#ve the s#(e sign#l going to 5oth the right #nd le6t out+uts. ,o, i6 $ou 5lo1 out $our (#in recording on the le6t, $ou h#ve # 5#cku+ th#t $ou c#n +ull 6ro( in +ost on the right #t # s#6e lo1er level. ;6 $our c#(er# doesn8t h#ve (eters #nd he#d+hones 7hen $ou 1ill 5e using the (eters #nd he#d+hones in the juicedLink Rigg$?Assist +re#(+s. 0ut, this (e#ns th#t $ou #re not #ctu#ll$ (etering<(onitoring in the recording device. ,o, $ou need to t#ke #n e.tr# ste+ in $our +roduction 6lo1 to ensure th#t there is continuit$ to the c#(er#. 4ou don8t 1#nt so(ething #s sill$ #s neglecting to +lug the c#5le into the c#(er# #ll o6 the 1#$ to ruin $our d#$. ;6 $ou c#(er# h#s (eters in the setu+ (enu A1hich (ost doC, then 5e6ore $our shoot, veri6$ $ou h#ve continuit$ to the c#(er# #nd the right<le6t (eters in the c#(er# #re registering.
*ere #re so(e C4A ti+s, so(e o6 the( less intuitive th#n others.
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(#$ ver$ 1ell h#ve # good re#son to use #n e.tern#l recorder 6or the +#rticul#r shot $ou #re c#+turing 6ro( # +roduction 6lo1 +oint o6 vie1. 0ut, i6 $ou think th#t $ou need to do this to c#+ture :u#lit$ #udio, th#t is incorrect.
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(.2.2 4oes 2(7@A *e or' %etter SN* 5or 4ialogue wit1 a Mi ; No ...
*ere, 1e8re going to 1#lk $ou through #n #n#l$sis o6 the nu(5ers. 7*-'R-7;CAL ,BR FR'% AB ;3-AL ABAL'G?7'?3;G;7AL C'BO-R7-R AA<3C 1I 0;7,D 1I 5its h#s 2T1I ste+s resulting in # 6ull sc#le r#nge o6 20logA2T1IC R )Id0. 0ut, $ou onl$ (eter to ?12d0 6or su66icient he#droo( during recording. ,o, the e66ective theoretic#l d$n#(ic r#nge 6ro( #n ide#l AA<3C is )I / 12 R !d0. 2! 0;7,D 2! 5its h#s 2T2! ste+s resulting in # 6ull sc#le r#nge o6 20logA2T2!C R 1!!d0. 0ut, $ou onl$ (eter to ?12d0 6or su66icient he#droo( during recording. ,o, the e66ective theoretic#l d$n#(ic r#nge 6ro( #n ide#l AA<3C is 1!! / 12 R 132d0. ,o, 6or #n ide#l A3C, 2! 5its is indeed c#+#5le o6 recording 1ith higher ,BR th#n 1I5its. 0ut, 1ill $ou ever see this in +r#cticeF PRAC7;CAL ,BR FR'% 7*- 'H7PH7 'F A %;C R-C'R3;BG 3;AL'GH Consider # Rode B7G3, considered 5$ the industr$ to 5e #n ver$ lo1?noise (icro+hone. 7he B7G3 h#s # noise s+eci6ic#tion o6 13d0A ,BR 6or (icro+hones #re re6erenced to 1P# R )!d0 ,o, 6or # sound +ressure level o6 1 P#, the B7G3 +rovides # ,BR o6 )! / 13 R 1d0 7his is less th#n 5oth the theoretic#l ,BR 6or 5oth #n ide#l 1I5it or 2!5it A<3 ;n +r#ctice, the ,BR out+ut o6 the B7G3 is #ctu#ll$ (uch 1orse Re(e(5er, the (ic ,BR 1#s re6erenced to # sound +ressure level o6 1P#. Let8s +ut th#t into +ers+ectiveD 12 ? ju(+ to C'B7-B7, Get L#test e0ook Revision
2 P# is the sound +ressure level o6 # j#ckh#((er #t 1( 0.3I P# is the sound +ressure level o6 long ter( he#ring d#(#ge 0.03 P# is the sound +ressure level o6 # convers#tion #t 1( ,o, the re#l ,BR co(ing out o6 the (ic o6 # convers#tion is (ore like 0.03 P# R I!d0A. ,o, the ,BR out o6 the B7G3 is I! / 13 R 21d0 ,o, the ,BR out the (ic is the li(iting 6#ctor 6or ,BR +er6or(#nce in either c#se o6 # 1I5it or 2!5it ide#l A<3
,o, the out+ut 6ro( even # ver$ lo1 noise (icro+hone 6or di#logue 1ill 5e #5out 21d0. ,o, #n ide#l A<3 #t 2!5it is o6 no #ddition#l v#lue over 1I5it, since the sign#l to noise out o6 the (ic is the li(iting 6#ctor in 5oth c#ses. Bo1, this is not to s#$ th#t there isn8t # di66erence in the +er6or(#nce o6 recorder (odels. 0ut, it doesn8t h#ve #n$thing to do 1ith 5it de+th. 7he 5iggest di66erenti#tor 5et1een recorders<c#(er#s is the #n#log 6ront end. 0ut #s 1e h#ve seen in the Noise "igu!e of Cascaded Amplifie!s section, using # juicedLink lo1?noise +re#(+ 5e6ore nois$ #n#log 6ront ends c#n 6i. th#t.
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Microphone &eco++end!tions
;n this section, ; #( going to +rovide $ou 1ith ($ +erson#l co((ents #nd reco((end#tions 6or (icro+hones, 1ith the underst#nding th#t $ou h#ve # 5udget to 1ork 1ith.
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Hnder Construction
1I ? ju(+ to C'B7-B7,