I actually, use a 722 and a mix pre. the 722 to match levels and the MP fo=
r pure gain. BUT don't stop testing with your set-up, literaly unplug and =
switch mic and cabling ins and outs, and keep track of the various combinat=
ion because all things aren't created equally.
Further, run tests for each notch on your recorder and MP: you'll learn yo=
ur set-up's sound, have a better idea for it's tolerances, and realise just=
where the points of diminishing returns lay.
Furhter-further: test your set-ups again with and without filters if you're=
using any. Ultimately you'll find the quietest combination you can achiev=
e and have that recording as the noise floor sample to start things in post=
. And, no, you probably won't get this done in one night, and yes, a big r=
umbling truck that has never been down your street before, someone will sta=
rt yelling outside, or you'll mysteriously start sneezing or coughing just =
as your getting into your testing session!!!--arrgh
>From them, I've marked my cables and mics specifically for left and right i=
nputs and outputs, know the effective frequecy I prefer for filtering and k=
now where my gains are.
My addendum's to Rob D.'s excellent list:
> Five more factors that might improve the chances of making a good compari=
son:
>
> (1) Turn off everything you can that is in the same or nearby room--> com=
puters, fans, heaters, fish tanks, even the refrigerator if its
> anywhere near the room including directly above or below.
Especially the refrigerator, otherwise it's an aural timebomb waiting to ru=
in your session.
I'll also suggest using a carpeted room and that the most silent places are=
in a clothes closet or for more room, under a bed or couch. There's a lo=
t of damping down there.
>
> (2) Run all gear on DC or fresh batteries.
In the same vane, stick to SD or CF media. No HD recording if you've got t=
hat capability.
>
> (3) What ever you use for the "signal" e.g. clock, tone generator--
> make sure the sound generated is absolutely consistent and not very
> loud in relation to the room/background ambience. If the sound source is =
too loud, it will make it harder to evaluate the noise differences.
I use and electronic metronome @ 40 beats/s-can't get much more consistent =
and the gap is where you can get a decent sampling. I also use it for soun=
d checks in the field because even in a multi-source environment I can alwa=
ys pick out the ticks. Perform these tests enough and you'll be better abl=
e to adjust levels accordingly based on something known, not just on what's=
going on at the moment.
>
> (4) Take long takes of each recording-- at least 10 minutes each so
> you can choose segments with minimal traffic for better-matched
> background sounds. If you live near streets, it can be better to do
> it in the "wee" hours.
Oh, yes! To minimizing "human" noise I suggest at 2-3 am. Before that, pe=
ople are arriving back, and after that traffic rumble commences. A bonus =
is to watch for light foggy conditions to help muffle things.
>
>Rob D.
> --
>
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