Another dumb question from the noob of the month :) - Soundproofing

[richke]

thanks paul....very helpful info!!!!

 

[greymog]

True my post referred ideally to recording instruments this is my background, main advice i was counting on giving was the room treatment.

I've come to mix methods, and try a lot of stuff. I like to treat any audio i grab like music, also i've recorded some gigs using a broadcast setup.

I realize its not ideal, but still, i think the info on treating the room is valid, i've been countin on it for 15 years.

auralex do a good job with maxwall you can position them anywhere.

I've previously got really good results for both applications using dynamic mics if the room doesn't allow for high sensitivity miking.

Again, I loves the dvx, tell me where I'm wrong, new things to learn.

What is the difference between miking for broadcast, and miking for music, in approach of course?

 

[Gohanto]

What is the difference between miking for broadcast, and miking for music, in approach of course?

Micing for music you use static setups and your aim is always for a "sound" that you or the band wants, more so than accurately hearing what the instrument is actually doing. You pick and position mics around the room to best capture that. And you have the definite advantage of recording everything in one room and listening in a treated control room simultaniously, so you can be confident about the decisions you're making.

For film, you want light-weight mics that can follow talent around through the use of a boom, be rugged, and pick up dialog accurately. Mics, preamps, limiters, ect... are chosen because they don't color the recording. On-set, you're making decisions without being able to hear options in a treated and calibrated studio, so you want stuff that's reliable and consistent.

That's why ~90% of interior Hollywood dialog is captured with a Schoeps cmc641, and I'll bet you couldn't even find 10 music guys that use identical mics and setups.

 

[Noiz2]

The "roomy" tone is an issue with the mic itself. A shotgun (lobar pick-up pattern) mic is supposed to have a great degree of off-axis rejection, meaning that is doesn't pick up sounds from the sides. Using a mic with a cardioid pick-up pattern will greatly reduce the "roomy" effect.

To fine tune this a bit. A shotgun is picking up sound on it's sides that is being directed to the backside of the capsule in such a way that it cancels sounds that originate from the sides and not ones that originate from the front. The problem in a reflective room is that sound from the front is bouncing off the walls on the sides and being treated like is originated from the side. This gives you a very echoey, "roomy", hollow, etc sound. Shot guns are used all the time indoors on Foley stages and VO booths, but those are very dead rooms so you don't have the bounce problem. They can also work when what your recording is quiet so that you don't get much bounce. And some shotguns are much more prone to this effect than others. Other pick up patterns use few or no interference slots and so are far less likely to have this problem.