Recording Preference

NorBro

NorBro

Major Contributor
So I almost always hire a sound person to take care of my audio tasks while I focus on other aspects of the production. I trust the person(s) and don't worry too much about the process.

Sometimes I record audio by myself. I like to use the Beachtek DXA Micro Pro (which is one of the best things ever made, ha) for two person interviews.

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On the Beachtek, I run two 3.5mm wired mics to the talent. I have the choice of setting the box to M (Mono) or S (Stereo).

I've recorded both ways before.

I like using M when I have unpredictable situations as it allows me to create a safety track, but then both recordings are mixed into the same channel. So I.E., if someone coughs or cuts the person off, I can't edit that out.

I like using S because I can have separate recordings, but then I'll have more editing in post. I usually flip back and forth between who's speaking. You may still hear the other person cough/talk, but it's not as pronounced, especially if there is some distance.

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How do audio professionals record sound for multiple people speaking?

I know the circumstances matter, but would you record all talent on the same track or have individual tracks for each person's audio?

Thank you for reading.
 
I record each person to their own track (on an external audio recorder) and send a mix to camera. That mix may be two-channel high quality or just mono scratch for the rough edit (and for Comteks for producers/clients/etc). Sometimes the editor/producer will use the camera mix as primary audio and only dip into the audio-recorder tracks if a problem comes up, sometimes they just cut picture with the camera mix and then build final from the audio recorder. Depends on their needs, their budget, and their time.

But mixing multiple audio channels to a single single mono channel that you hope to use for master-quality audio can create all sorts of problems that are hard to get out of...especially if you don't have an audio person focusing on just sound as he/she creates that mix. In addition to coughs and other audio hits, there may be phasing if both mics pick up the same audio.

I'd say record audio to separate channels, and deal with the relatively minor hassle in post. Better chance of delivering dialog you like.
 
As Jim says, it really depends.

Having been on both sides of this (recording the dialogue and then being a dialogue editor), if a solid mix track can be made, then that's good, but for unscripted interviews, that can be hard. If it's a two person interview, then one person is on the left channel, and the other person is on the right channel. That means you have to do a dialogue edit pass, which isn't all that hard, but it does need to be done. You'll end up with a better product in the end.
 
--> Thank you!

Quick question...does anyone know any microphones (3.5mm or XLR) that are super sensitive? (i.e. not needing much amplification.)

I have a few in my possession: Sony ECM-44B sitting at -53dB, Aspen Mic at -44dB, and an Oscar SoundTech 802 at -56dB (I think).

The Aspen mics are the best for not needing as much juice from inexpensive external recorders, but just wondering if there are any mics out there in the -30s or lower.

Thank you! <--
 
NorBro said:
--> just wondering if there are any mics out there in the -30dBs or lower.
Click to expand...
The Countryman B3 and B6 have a sensitivity model option. The high sensitivity (grey band) model is around 7-9mV, which is in the lower -40dB range. No other lavalieres that I am aware of have much higher output than that. The Cloud Lifter is an in-line booster/EQ but AFAIK, it's for XLR wired mics.
 
Thank you. The Aspen Mics seemed to be made specifically for the recorders where you can keep the levels to 55-65 and get decent audio on a budget. If someone made a wired lav where you can keep the levels 30-40 inside the recorders, it would probably sound really good for the overall price/kit. But everything needs so much gain, which is understandable.
 
My own experience is that the lavs I own don't need excessive gain. That would be both wireless using G2 systems, and phantom powered units going into a variety of recorders. Are you needing more gain due to placement?
 
I most definitely use inferior audio equipment compared to you...but I like to use the Aspen Mics with the Zoom H1 sometimes, and get pretty decent audio with limited hiss around 55-65 levels (out of 100). I can clean it up in post (this is for my own projects) and it sounds nice for my own standards.

But using other lavs (which are better), I have to bump the device up to 80-85 and that increase is just too much. Might as well record straight into the camera.

I know a preamp (and better audio equipment overall) would solve everything, but was just hoping there was something really, really sensitive where I could use the levels at 30-40.

Sometimes I'll record something for myself (VO) and use the MKE600 with the Zoom H1 and talk straight into it and it just sounds awesome for the overall price of the package.

You guys would notice the nuisances with everything, but the sound is super clean and rich with no hiss, so that's all I need. I wish I could find a lav that would sound like that @30-40 with the H1 with no additional equipment.
 
*nuances

P.S. Sorry for bouncing around, but don't like to start too many threads...if a budget is open, what's the best recorder one can buy? (or darn good)
 
NorBro said:
*nuances

P.S. Sorry for bouncing around, but don't like to start too many threads...if a budget is open, what's the best recorder one can buy? (or darn good)
Click to expand...

Wellllllllll..... if the budget is open, then you could get yourself an Aaton Cantar X3 ;-)

I'm sure you can scrounge the change to buy one by looking down the back of your couch:

https://www.trewaudio.com/product/cantar-x3/

But more seriously, I suggest a Zoom F4, and recently I wrote up a detail blog post comparing all the lower priced options:

http://ironfilm.co.nz/which-sound-r...various-indie-priced-sound-recorders-in-2017/
 
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