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Shotgun microphone? Mono vs. Stereo
my recordings. I have a unidirectional shotgun microphone which has a mono plug. However, when I plug it into my Sony TRV950 minidv camera I only get sound out of the left side. I know that the mic is mono, however is there a way to get the sound to come out of both left and right? Or does this have to be done in post production? Thanks. Harold On 21 Jul 2005 09:55:57 -0700, harold***@yahoo.com wrote:
>Hi, I'm a beginning flim maker and would like to improve the sound in You could make up an adaptor plug. But you'd gain nothing by>my recordings. I have a unidirectional shotgun microphone which has a >mono plug. However, when I plug it into my Sony TRV950 minidv camera I >only get sound out of the left side. I know that the mic is mono, >however is there a way to get the sound to come out of both left and >right? Or does this have to be done in post production? Thanks. recording the same sound twice. Assuming you're GOING to edit the result, pan the audio centre then. "Laurence Payne" <lpayne1NOSPAM@dsl.pipexSPAMTRAP.com> wrote in message Yes you would. More resistance to drop outs.news:aervd19ap87sav5go12o0664mdse6e4ais@4ax.com... > You could make up an adaptor plug. But you'd gain nothing by > recording the same sound twice. MrT. On Sun, 31 Jul 2005 19:27:38 +1000, "TonyP" <To***@optus.net.com.au> On a digital system? Audio isn't recorded on two separate physicalwrote: >> You could make up an adaptor plug. But you'd gain nothing by >> recording the same sound twice. > >Yes you would. More resistance to drop outs. tracks, it's interleaved with the video, isn't it? If one thing glitches, everything glitches. Talking of drop-outs, I recently discovered the Wavefom Restorer in WaveLab. Very clever. You mark a section, it looks up to 6 seconds back or forward for a best match and pastes it in. A good tool.
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On 31/7/05 8:35 PM, "Laurence Payne" <lpayne1NOSPAM@dsl.pipexSPAMTRAP.com> Depends on the system. MiniDV is physically seperated on the tape (this iswrote: > On Sun, 31 Jul 2005 19:27:38 +1000, "TonyP" <To***@optus.net.com.au> > wrote: > >>> You could make up an adaptor plug. But you'd gain nothing by >>> recording the same sound twice. >> >> Yes you would. More resistance to drop outs. > > On a digital system? Audio isn't recorded on two separate physical > tracks, it's interleaved with the video, isn't it? If one thing > glitches, everything glitches. why you can technically have a tiny amount of drift betwee A and V; MiniDV does not lock audio to video unlike DVCAM). Other digital systems may interleave. I have heard of one school teaching that (on cameras equipped to do so) you should record the same mic to both channels, but at different levels - one will catch the stuff that's too quiet, the other will handle peaks. Of course, most students forget to mono-mix in post and you end up with an off-centre sound, but it's a decent idea. On Sun, 31 Jul 2005 21:00:59 +1000, Cail Young <nospam@anywhere.com>
wrote: >I have heard of one school teaching that (on cameras equipped to do so) you Anyway, you'd have to do more than a simple mono mix. If we're>should record the same mic to both channels, but at different levels - one >will catch the stuff that's too quiet, the other will handle peaks. Of >course, most students forget to mono-mix in post and you end up with an >off-centre sound, but it's a decent idea. recording into a system with restricted dynamic range, the channel that was wicked up to catch quiet stuff would be running into serious overload on loud stuff On 31/7/05 9:26 PM, "Laurence Payne" <lpayne1NOSPAM@dsl.pipexSPAMTRAP.com> Oh absolutely - although the difference recommended in this case was 3-6dB,wrote: > On Sun, 31 Jul 2005 21:00:59 +1000, Cail Young <nospam@anywhere.com> > wrote: > >> I have heard of one school teaching that (on cameras equipped to do so) you >> should record the same mic to both channels, but at different levels - one >> will catch the stuff that's too quiet, the other will handle peaks. Of >> course, most students forget to mono-mix in post and you end up with an >> off-centre sound, but it's a decent idea. > > Anyway, you'd have to do more than a simple mono mix. nothing huge. On Sun, 31 Jul 2005 22:07:18 +1000, Cail Young <nospam@anywhere.com>
wrote: >> Was this technique recommended for digital systems? Can you point us>>> I have heard of one school teaching that (on cameras equipped to do so) you >>> should record the same mic to both channels, but at different levels - one >>> will catch the stuff that's too quiet, the other will handle peaks. Of >>> course, most students forget to mono-mix in post and you end up with an >>> off-centre sound, but it's a decent idea. >> >> Anyway, you'd have to do more than a simple mono mix. > >Oh absolutely - although the difference recommended in this case was 3-6dB, >nothing huge. to a reference?
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On 31/7/05 10:39 PM, "Laurence Payne" <lpayne1NOSPAM@dsl.pipexSPAMTRAP.com> Yes, for use on DVCAM camcorders, and no, because they're a paid universitywrote: > On Sun, 31 Jul 2005 22:07:18 +1000, Cail Young <nospam@anywhere.com> > wrote: > >>> >>>> I have heard of one school teaching that (on cameras equipped to do so) you >>>> should record the same mic to both channels, but at different levels - one >>>> will catch the stuff that's too quiet, the other will handle peaks. Of >>>> course, most students forget to mono-mix in post and you end up with an >>>> off-centre sound, but it's a decent idea. >>> >>> Anyway, you'd have to do more than a simple mono mix. >> >> Oh absolutely - although the difference recommended in this case was 3-6dB, >> nothing huge. > > Was this technique recommended for digital systems? Can you point us > to a reference? and don't post their material online ;) It's not a doctrine I follow myself (I prefer setting a level then controlling with boom distance). On Sun, 31 Jul 2005 21:00:59 +1000, Cail Young <nospam@anywhere.com>
wrote: >I have heard of one school teaching that (on cameras equipped to do so) you Do cameras advanced enough to offer manual level control have such>should record the same mic to both channels, but at different levels - one >will catch the stuff that's too quiet, the other will handle peaks. Of >course, most students forget to mono-mix in post and you end up with an >off-centre sound, but it's a decent idea. lousy dynamic range to make this worthwhile? If the stereo tracks ARE discrete and un-locked, would phasing effects be a reason NOT to record dual-mono?
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On 1/8/05 9:29 AM, "Laurence Payne" <lpayne1NOSPAM@dsl.pipexSPAMTRAP.com> No. I don't really agree with the practice, but it does help prevent thosewrote: > On Sun, 31 Jul 2005 21:00:59 +1000, Cail Young <nospam@anywhere.com> > wrote: > >> I have heard of one school teaching that (on cameras equipped to do so) you >> should record the same mic to both channels, but at different levels - one >> will catch the stuff that's too quiet, the other will handle peaks. Of >> course, most students forget to mono-mix in post and you end up with an >> off-centre sound, but it's a decent idea. > > Do cameras advanced enough to offer manual level control have such > lousy dynamic range to make this worthwhile? who aren't very familiar with location sound from having massive problems. > The tracks are locked to each other, just not the video track (except in> If the stereo tracks ARE discrete and un-locked, would phasing effects > be a reason NOT to record dual-mono? DVCAM et al, where there is A/V lock). Most video editors have the option of duplicating one sound channel
onto the other. Check out yours, I'm sure you'll find it. Bye. |
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