For just a few minutes, let me step up on my soapbox and talk about audio recording in general. Not so much about being related to digitizing audio clips into the Flyer, but more about the importance of good audio in general.
For too many years I have watched television treat audio like an appendage. Having a background in audio, my first visit to a real television station was a real eye-opener. I walked into the studio and there were the REALLY BIG cameras�� All the lights were hanging from a grid on the ceiling��. Television monitors were everywhere. Then I stepped into the control room and drooled over the switcher and wall of monitors. I looked around for the audio and after doing a double take I discovered a Shure M67 microphone mixer and 4 lav mics laying over on a paint spattered tabletop.
I thought that the audio console would at least be something equally sophisticated as the television production switcher, but I was wrong. And that reflects the sentiment of the broadcast industry in the late 60's even as the motion picture industry and the recording industry were encouraging new technology. As a result, similar audio growing pains plagued the video industry. Now, however, the entire entertainment industry is getting wise to the fact that the audio experience greatly enhances the total experience.
But is audio THAT important in video production?
Ask George Lucas. The art of audio dubbing, sonic recreations, and Foley work has totally enhanced the full-length motion picture. And now with HDTV, Internet streaming and plasma screens, 5.1 sound will take the experience to the next aural level. But, in the end, it won't be any different than it always was. If you can't afford the luxury of overdubbing everything, then you will have to use the audio you get at the scene. And whatever you get will be��. Whatever you get. There's very little you can do to take the crying baby out of Granny's 100th Birthday speech. "Don't worry", you tell them, "at Granny's 200th I'll use a wireless Mic".
Good audio is important to EVERY video production. Even the loosest, most unorganized and unplanned shoot can be saved by something "magic" in the audio. And, since my client expects it to look and sound like what they see on TV, I feel like I owe it to my clients to give 110%. So I drag an extra bag with me to locations with audio connectors, microphones, extension cables, and a wireless Mic system. What kinds of "goodies" do I include in the bag? Just the usual:
(4) 12 ft. XLR LowZ microphone cables
(2) Shure A95U XLR-to- �" jack impedance transformers
(2) 20 ft. stereo cable with RCA's jacks
(4) RCA-to-RCA adapters
(2) �"-to-RCA jack adapters
(1) 8 ft. 1/8" Stereo Mini-phone plug to dual XLR plugs (with built-in impedance matcher for connecting LowZ audio direct to cameras EXT MIC input)
(1) Switchcraft #310 mini-mixer/ 2 �" jack-to-single �" plug (w/volume knobs)
(2) ground-lift AC adapters
(1) RCA SK400 Transient Voltage Surge Protector
(1) Stereo �"-to- 1/8" stereo mini-jack
(2) "y" cables (male RCA to dual female RCA)
(2) "y" cables (male �" to dual female �")
(1) Leatherman multipurpose tool
(4) climber's pinon clamps (useful for cable runs)
(2) roll red duct tape (for blocking stage markers)
(1) roll gray duct tape (for everything else)
(1) bottle aspirin
(1) roll Wintergreen mints
(1) pair of foam ear plugs
Actually, these days my experiences have led me to even further heights as a "adapter collector". Nowadays I keep all my adapters in a fishing tackle box, the variety that has plastic see-through lids on both sides. It's very handy.
I take headphones with me and I listen to everything as I record it. If it's a live event I try to tap into the PA system and have all the necessary adapters to make it work. If I can I record one channel line audio and one channel camera Mic or external shotgun Mic. I'll put a Mini-Disc or DAT recorder on a PA when I do single camera coverage of an event. That way I can have the entire digital audio recording of the event and shoot what I want without fear of losing something. I do everything I can to get the best sound that I can capture at the scene. When I see or hear of others in the video community who shoot footage using the camera Mic for primary audio, I just cringe.
I admit it. I am a lurker and sometime surfer on the Video Toaster/Flyer Mailing List (VTFML). It is the way many of us videographers live vicariously through the careers of others more fortunate who are willing to share their experiences online. NewTek has their "spies" monitoring (Hi Paul, Chuck, and everybodyJ!) the list as it is a great way to exchange feedback and information between the developers and their user base. The VTFML is a great group of professionals and somewhere left of center is a passionate core of die-hard Amiga fans. Sometimes there's a flame or two that creeps in (and out) but everyone pretty much takes it with a chuckle, and sometimes a guffaw. I have learned more about my overall computer system and all it's operation on the VTFML, and formerly the VTML, than at any seminar or workshop.
Living here in Arkansas, in the heart of the Ozarks, does not seem at first glance to be the Center of the Known Universe, and yet I keep up with all the developments and bugs in my video system of choice. I cannot count the number of times I have had something "go wrong" during a production, and in less than 15 minutes after posting it to the list I was back to the job. Having access to developers and the NewTek braintrust is a two-way street. We get the advantage of instant gratification and they get feedback for the next version. Yes, I do get an extra 50 emails every day, but that's what the DELETE button is for!
Lately, the list has been abuzz with NAB, The NewTek T-2, Sony's latest digital camcorders, and the usual technical chatter. A common thread right now has revolved back around to audio. And as we all know, the Flyer is sort of sensitive to audio. But this is not unique to the Flyer. It is common to ALL digital audio devices. This is a not a mystical thing. Analog audio can "give and take" and even be enhanced by distortion (overdriving the mic pre for that "sweet" sounding vocal), but digital just recognizes 1's and 0's. In terms of an analog VU meter, going "Over" 100%VU to say, + 4 can have a very pleasing effect. It sounds full and alive. But going "OVER" in digital means crunched 1's and ripped 0's. In other words:
ANALOG+PEAK LIGHT=OK
DIGITAL+PEAK LIGHT=NO
Of course, this has caused a cottage industry for tubes, of all things!!! In order to get the mix to sound "Warm", "Fat", and "Analog" you must first run it through some tubes. God, I love this business!!
But I digress����..
When recording the audio clips into the Flyer you MUST keep the audio levels from peaking. It's okay to go all the way up TO the little red light, but NOT THE LITTLE RED LIGHT! I guarantee you from personal experience that if you peaked the audio the chances of that clip causing sequencing errors are greater than my CD going double-platinum anytime soon.
The subject of COMPRESSION VS. LIMITING has come around on the VTFML so many times that I sometimes go back to a previous post and quote myself. I keep the latest gear mags handy for all the private email I get about brands, brands, features, and prices. To cut to the chase, compression is good, and can be used advantageously in certain situations. But limiting is NECESSARY to keep the Flyer peaklight from lighting. It is rare that ANY audio signal, either live Mic or line feed is so tame that it doesn't have occasional transient spikes. Those are the ones that will getcha'!
So you have three choices:
1) Take your chances and manually ride gain when digitizing using an outboard mixer.
2) Get OzWare's Short Cuts, and you can manually ride gain from its screen interface.
3) Purchase a two-channel audio limiter and insert it ahead of the Flyer audio inputs.
Oh yeah, there IS a 4th choice: Produce only SILENT FILMS!
Bob Ketchum, the Clowned Prince of Audio, would like to
Acknowledge that although he IS a drummer, distortion
Is STILL distortion.
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