Guys, sorru to bring this up again...
I needed iPod to hear some nature sound MP3's at iPod shop so I had
to download QT as well.
But QT uses 95-99% CPU as soon as it starts and I can't even get into
the settings menu to shut it off.
After looking at different forums, it appears that I am not alone
with this problem.
Advice? How can I shut QT off so that MP3' are opened with Media
Player, for example?
Do I have to delete the whole program? If so, will iPod still work?
Klas.
At 21:02 2009-07-16, you wrote:
>Hi Curt--
>Assuming the positioning and sound sources are similar, the AT3032
>head-spaced baffled rig does seem to have compromised lower-mid range
>and high frequency responses. This is quite surprising compared to
>Shure Beta58s in a narrow ORTF-type array, isn't it? I wasn't able to
>re-coop the significant deficiencies with EQ.
>
>http://tinyurl.com/nlphtm (QTmovie)
>
>To the ear, its sounds as if the AT3032 head-spaced baffled rig is
>picking up resonance from something, like the capsules are not in
>open air. The resonance does sound, "hollow." A head-spaced baffled
>rig with omni's certainly isn't a typical candidate for resonance.
>It wasn't enclosed in any way was it?
>
>I'm not surprised to hear a less than brilliant high-end with the
>3203's, but I was surprised to hear more brilliance with the dynamic
>mics until I looked at the 58's Hz response. http://tinyurl.com/oxy3zr
>
>Assuming the cardioid Beta58 mics were 4-6 feet from the waves, they
>may have been "rolling-off" under 500Hz pretty radically so the
>resonant content between 160-500 Hz would be attenuated. I think 58's
>are made for close vocal work and _ to use_ the proximity effect to
>create the desired tonal balance. At more than a few feet, the Hz
>response under 120Hz might become very minimal.
>
>I have a hunch that most of the difference we're hearing stems from
>the mics' tonal differences and the (importantly, loud) subject is a
>better fit for the dynamic mics. As with Mikes material, pink noise
>really shows up any challenges in the lower mid-range that mics/array
>may have. Of course, one would need that range in recording
>soundscapes at a distance and the 58's would probably sound quite
>thin.
>
>The Shure Beta58s in the narrow ORTF-type array turned out great! Rob D=
.
>
> =3D =3D =3D
>
>At 10:06 AM -0500 7/16/09, Curt Olson wrote:
> >
> >
> >Rob Danielson wrote:
> >
> >> Hi Curt--
> >> I'm trying to narrow down what you mean by "hollow." By comparing
> >> files that exhibit the problem with those that don't (or don't as
> >> much), we'll all probably learn something.
> >
> >Good idea, Rob. Here are two quick and dirty examples (both are 1:20).
> >
> >1) This clip has the "hollow" sound that I want to learn to avoid. I
> >recorded it couple months ago in a small rocky inlet with an AT3032
> >head-spaced baffled rig:
> >
> ><http://www.trackseventeen.com/media/tsp/waves-hollow.mp3>http://ww
> w.trackseventeen.com/media/tsp/waves-hollow.mp3
> >
> ><http://tinyurl.com/l4ylsu>http://tinyurl.com/l4ylsu
> >
> >2) This clip seems to have a cleaner, less "hollow" sound. I recorded
> >it the other day with a pair of Shure Beta58s in a narrow ORTF-type
> >array:
> >
> ><http://www.trackseventeen.com/media/tsp/waves-not_so_hollow.mp3>ht
> tp://www.trackseventeen.com/media/tsp/waves-not_so_hollow.mp3
> >
> ><http://tinyurl.com/lm478b>http://tinyurl.com/lm478b
> >
> >> I'm wondering if micing distance and array used are the only other
> >> variables we'd need to know,..
> >
> >They're probably the most important. Of course, we all know that mic
> >placement is about more than just "distance," especially in shoreline
> >areas that feature massive rock structures.
> >
> >Mike wrote:
> >
> >> Curt was there a sand bank or rise behind you?
> >
> >Nope. Massive rock structures.
> >
> >> I would imagine in such a diffuse pink noise environment a pair of
> >> figure 8's may work better?
> >
> >After my last venture out, I would guess probably not, but it's worth
> >a try.
> >
> >John Hartog wrote:
> >
> >> Hi Mike,
> >> Wondering if shadows and reflections from shifting wave faces have
> >> something to do with the tone oscillations.
> >
> >I haven't checked out Mike's links yet, but I imagine the waves
> >themselves -- always in motion, and with ever-changing angles of
> >reflection -- could certainly cause a lot of tone shifts when close
> >micing.
> >
> >Curt Olson
> >
> >
> >
>
>
>--
>
>
>
>
>
>------------------------------------
>
>"While a picture is worth a thousand words, a
>sound is worth a thousand pictures." R. Murray Schafer via Bernie Krause
>Yahoo! Groups Links
>
>
>
Telinga Microphones, Botarbo,
S-748 96 Tobo, Sweden.
Phone & fax int + 295 310 01
email:
website: www.telinga.com
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