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Posted by Ty Ford on 10/02/09 11:40
On Sat, 18 Feb 2006 20:56:26 -0500, DanR wrote
(in article <efQJf.35135$H71.28229@newssvr13.news.prodigy.com>):
>
>
> blackburst@aol.com wrote:
>> Richard Crowley wrote:
>>> We have not yet found a work-around for the laws of physics.
>>> Decent sound requires getting the microphone closer to the talker.
>>> Hand-held, clip-on lapel, boom, wireless, whatever. But unless
>>> you are shooting close-ups for pimple cream or tooth-whitening
>>> gadgets, the on-camera mic is just too far away.
>>
>> Amen!
>>
>> There is no miracle procedure to correct badly-recorded audio. If you
>> want it to sound good, record it the correct way. generally, ACAP - as
>> close as possible (except in a rare overload situation.)
>>
>> I preach this to my students all the time, and to my staff. A pro on my
>> staff was set up to close mic a comedy performance, and the MC said he
>> wanted lots of crowd noise and told him to use the camera mic. And he
>> did. And the audio is unusable.
>
> Sometimes even the pro is stuck recording audio (voice) in a very live boomy
> environment. One gadget we used years ago was a CAT43 card that replaced the
> main plug-in card for one channel of Dolby analog noise reduction. It had a
> remote unit with 4 or 5 fader type controls. In reality it was a group of
> gating
> circuits that gated different parts of the audio spectrum independently with
> various attack and release times. It was always able to help some and
> sometimes
> a lot.
Yep and George Massenburg designed a six fader piece for Disney some years
back to noise reduce some of the early Disney Optical tracks as well. I
reviewed it and it actually did reduce sloppy echo stuff. I think the basic
concept is used in the Cedar system.
A tribute to man doing what he can to fix something that was not done
properly the first time.
Regards,
Ty Ford
-- Ty Ford's equipment reviews, audio samples, rates and other audiocentric
stuff are at www.tyford.com
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