At 11:16 AM -0700 6/29/04, Dan Dugan wrote:
>used the DBX compander system for reel to reel
> >for years and it was not kind to low signal
>>levels.
>
>Maybe it was out-of-range on the quiet stuff? I don't recall a
>problem with that in my dbx years.
Correct, the quiet passages would drop beneath the threshold. I fear
low levelss/quiet locations will cause the compander circuit to
create extra noise if not pumping. I hope not though, I'd love to not
drag wires.
>
>>(I start both packs running
>>between the wide mics, sync them all and carry
>>them out.
>
>So you use separate recorders for the wide rear left and right?
Not usually, though its possible. I often put the wide spread
cardioids on FL and FR to create the horizon because these channels
have subwoofers on them. The M-S pairs might go LF/RF with LR/RR or
LR/LF with RR/FR and even LR/C and RR/C or RR/LF with LR/RF. I try
to find the "scale" that a set of files seems to want to present.
Sometimes I get lucky and guess at the right scale in the field, but
not often. Its alchemy at this stage of learning.
>
>>MD's are astonishingly speed accurate)
>
>You're either lucky or not noticing. Do you do a tail synch to check
>for drift? The two Sharps that Sharon and I use drift a few inches
>apart per minute. With the wide-spaced rears it won't matter much,
>anyway.
Lucky I guess. Yes, I try to tail slate. For a class project, we ran
4 (MT-90) MD's for 70+ mins and found the drift between them was on
the order of one second. I corrected it by changing the sample rates
and it was almost too small for Logic to calculate. I do slide
tracks when the timing difference from a spread isn't complimenting
something. I think when one works in an enclosed space where the
sound from all directions is roughly balanced in volume by
reflections from the architecture, symmetrical arrays can capture
this. Maybe outdoors, especially in open areas, its more critical to
get each mic in a place with an interesting sound perspective and
then find a complimentary scheme for overlapping the perspectives in
post. Of course, in very quiet spots, the "spheres" of the mics
overlap more and the mics can be placed further apart. The timing
differences can be yucky at times. and blissful at others. My
preference is to record for hours, let nature choreograph and pick
the stuff that works. Rob D.
>-Dan
>
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