Headphones - Noise cancelling or not.

Sound Chaser said:
So are you saying my sample mix is crap? http://www.soundchaser.ca/Corktown.html
This is my first classical recording as I am not a classical engineer, BUT if you can do better, please refer me to your work. I will expect a sample recording of your work demonstrating your superior skills. Yes I am calling you out to back up your comments.

I do agree that IEM are better.
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I've been recording and mixing classical music since 1964. I have nothing to prove to you or anyone else here. I made a statement about basic technology and logic. If you got a good mix with your method then I am glad for you. I made no statement about your mix then or now and I have no interest in a pissing contest.
 
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My 2 cents :

Faithful reproduction and good isolation are paramount.
Ideally comfortable and economical

No noise cancelling, no open backs, no shaped response, no gimmicks!

Although my criteria for phones is for critical listening tests here at SQN, the same holds true for location. The only phones we use are Beyer Dynamic DT48, although admittedly not very comfortable or economic.

rob.
 
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Hi All,
Well well well. Seems a lot of passion around audio. Thats fine. I bought and used the 7506 at the wedding and they wer very nice. So comfortable i forgot they were on. Since I had one chanel on XLR input from the sound desk and one chanel on internal mic i could easily hear local conversations and do some small amount of balancing with the dvx level meters.

My only problem was that the sound guy was not watching my signals to drop the levels and swamped the XLR input. Oh well - luckily there was a recording being made at the desk - i found out later. Sigh. If I had known I would have stuck with local mic only and mixed it in in post.

Liv n learn that one can count on unknown variables.

Thanks for your input. I will not be responding to any more posts but check the debate now and then. feel free to carry on and be nice to each other
:-)
 
magoo said:
My only problem was that the sound guy was not watching my signals to drop the levels and swamped the XLR input. Oh well - luckily there was a recording being made at the desk - i found out later. Sigh. If I had known I would have stuck with local mic only and mixed it in in post.
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To be fair, it's not the FOH guy's job to babysit your levels, he's paid to do the live sound; he's providing a feed as a courtesy. Just take it as experience. Next time, ask if the venue is recording (even if they are, they might not do a great job of it) and when you take a feed, start with the levels lower than you did this time.
 
As an occasional FOH guy myself, I agree completly. The FOH guy probably already has his hands full with audio to the mains to worry too much about a courtesy feed.


JordanBlock said:
To be fair, it's not the FOH guy's job to babysit your levels, he's paid to do the live sound; he's providing a feed as a courtesy. Just take it as experience. Next time, ask if the venue is recording (even if they are, they might not do a great job of it) and when you take a feed, start with the levels lower than you did this time.
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N635DC said:
As an occasional FOH guy myself, I agree completly. The FOH guy probably already has his hands full with audio to the mains to worry too much about a courtesy feed.
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It's just a courtesy feed, really.

Truth be told, this is where you have your A2's to help you with things like this while you (A1) handles all audio, PA, and broadcast.
 
JordanBlock said:
To be fair, it's not the FOH guy's job to babysit your levels, he's paid to do the live sound; he's providing a feed as a courtesy. Just take it as experience. Next time, ask if the venue is recording (even if they are, they might not do a great job of it) and when you take a feed, start with the levels lower than you did this time.
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It was a bit of a mix up. Sound guy was disappointed he was not told that I was turning up to the practice night and wanted to be there so we could get it right. Well I dont expect to be baby sat - just a quick check was all I wanted. 30 seconds! In this case it was a bit more than a courtesy as the bride and groom were adamant I have a feed since there was a special event included. BUT I do understand that the wedding sound in general takes precedence. No point if nobody hears the "I DO" except me. When I say he was not watching my signals - we had arranged that when I got to position and plugged in he would watch me for signals. Mid program I even left my camera and walked back to see him to ask him to watch me for a moment to sort it out and by time I got to the front he again did not look my way. oh well - he may have had his hands full . We could not do this before the ceremony as there was no music or singing happening at thet time to give a true test. Yes, lessons learnt to get it sorted ahead of time. I have gain controls on the camera but I only had to let that channel in a smidge and it blasted into the red.

all in all - no problem - we will all survive.
 
I shot a wedding that featured the Bob Cuban Band at the reception... asked them if I could have a board feed for toasts and to mix in one of their songs for the dance portion of the video. They said no problem. So I get all set up on an RCA out... listen in while they're doing their soundcheck... all is good.

15 minutes into the action of the evening I check it again and the levels are completely blowing... but I still have a total mix... as I'm adjusting levels the board guy says "is everything okay?" I say "no... the levels were way over what I had when we started... but I got it taken care of now"... guy says "okay good"... so after this... no longer trusting the board guy... I take a quick peak at my soundbag to make sure levels are holding so that I don't miss anything at toast/speech time. All looks great... I had a 302 on the front end so it was easy to see... yep... no problems... BUT I wasn't constantly monitoring this mix... as I should have been with a wireless xmitter off the bag.

So... I get home... thinking the company that hired me to shoot this is going to sh*t when they hear how good the audio is on this job... and guess what? All I have on my recorder... after the initial soundcheck... which you can hear is good... and then the fix from the hot levels... again... you can hear it's good... but nope, AFTER that... all I have is what sounds like keyboard from a hockey game... but hey, at PERFECT levels :)

A mixing board can easily send out a solo feed from one channel... and my guess is that 'ole Bob Cuban saw my audio bag (this band had a top-40 hit in the 60's or something... "the cheater")... and I'm sure they got second thoughts about "giving away" a perfect recording of their music.

Yep... 'ole Bob... I was just dying to promote your old guy washed up band that's now playing wedding receptions... thank God you prevented a national glut of Bob Cuban bootlegs... and of course made me look like the biggest jackass to a client who got some great isolated synthesizer... instead of THEIR clients' family in an acceptable recording, instead of through my on-cam mic.

*sigh*

But... the moral of the story? This was MY mistake... and one I'd NEVER... EVER... make again. In a simple sentence... consider any audio that's not monitored, not usable... because that's the gamble you're taking.
 
MattinSTL said:
I shot a wedding that featured the Bob Cuban Band at the reception... asked them if I could have a board feed for toasts and to mix in one of their songs for the dance portion of the video. They said no problem. So I get all set up on an RCA out... listen in while they're doing their soundcheck... all is good.

15 minutes into the action of the evening I check it again and the levels are completely blowing... but I still have a total mix... as I'm adjusting levels the board guy says "is everything okay?" I say "no... the levels were way over what I had when we started... but I got it taken care of now"... guy says "okay good"... so after this... no longer trusting the board guy... I take a quick peak at my soundbag to make sure levels are holding so that I don't miss anything at toast/speech time. All looks great... I had a 302 on the front end so it was easy to see... yep... no problems... BUT I wasn't constantly monitoring this mix... as I should have been with a wireless xmitter off the bag.

So... I get home... thinking the company that hired me to shoot this is going to sh*t when they hear how good the audio is on this job... and guess what? All I have on my recorder... after the initial soundcheck... which you can hear is good... and then the fix from the hot levels... again... you can hear it's good... but nope, AFTER that... all I have is what sounds like keyboard from a hockey game... but hey, at PERFECT levels :)

A mixing board can easily send out a solo feed from one channel... and my guess is that 'ole Bob Cuban saw my audio bag (this band had a top-40 hit in the 60's or something... "the cheater")... and I'm sure they got second thoughts about "giving away" a perfect recording of their music.

Yep... 'ole Bob... I was just dying to promote your old guy washed up band that's now playing wedding receptions... thank God you prevented a national glut of Bob Cuban bootlegs... and of course made me look like the biggest jackass to a client who got some great isolated synthesizer... instead of THEIR clients' family in an acceptable recording, instead of through my on-cam mic.

*sigh*

But... the moral of the story? This was MY mistake... and one I'd NEVER... EVER... make again. In a simple sentence... consider any audio that's not monitored, not usable... because that's the gamble you're taking.
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Mattin,
Thanks. ugh - sad story. did you get a sound track copy to dub over or add in in edit time? from the desk? Will have to work on some audio kit I think. Maybe a wireless set up of some sort. I imagine the transeiver at the camera end has connections to XLR inputs. -or does it record to a separate device... but that would be hard to sync. will check out a few threads in AWUDIO and save up some money.
 
How do you folks handle the cord length in the field? A 9'8" cord seems like I'd be tripping over it while shooting.
 
On the 7506's at least, Its a coil cord. When tripod mounted when I'm wearing them or not it only hangs half way down the tripod. when handheld or Steadicam just shove some of it in your pocket. Believe it or not the length is a great help! It allows you to move around your camera a little to do whatever you have to do while on the tripod, be it adjust a light or otherwise.
 
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