Field Guide to Audio Production

SA/NA - SE/NE - CYA Methodology Three Steps to u!lity Audio on ! "udget

2013 juicedLink, LLC All Rights Reserved

Field Guide to Audio Production v0.

# Contents
Click on heading to jump to page
# Contents$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$% % &EA' T()S F)&ST* Fund!+ent!l Principles$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$, %$# )ntroduction$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$, %$% Sign!l-to-Noise &!tio -SN&.$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$, %$%$# /pti+i0e Sign!l$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$, %$%$% Mini+i0e Noise$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$, %$1 SA/NA - SE/NE - CYA Methodology )ntroduction$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$2 1 SA/NA * SE/NE * CYA Methodology$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$3 1$# GET T(E M)C C4/SE$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$3 1$#$# )n5erse-S6u!re 4!7 -SA.$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$3 1$#$% Mic Pl!ce+ent E8!+ple9 "!c:ground Noise -SA/NA.$$$$$$$$$$$$$$$$$$$$$3 1$#$1 Mic Pl!ce+ent E8!+ple9 Mic Noise -SA/NE.$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$3 1$#$, Fund!+ent!l &ule9 GET T(E M)C C4/SE -SA/NA.$$$$$$$$$$$$$$$$$$$$$$$$$$$; 1$% Microphone "!sics$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$; 1$%$# "!l!nced 5s <n=!l!nced Sign!ling -NE.$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$; 1$%$% 'yn!+ic 5s Condenser Mics$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$> 1$%$1 Ph!nto+ Po7er$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$> 1$1 Selection o? Mic Pol!r P!ttern$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$@ 1$1$# Mic Pol!r P!tterns$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$@
3.1.!.1 "#$s to get the %ic Close............................................................................................................. &

1$1$% E8!+ples o? Pol!r P!tterns !nd SN& -SA/NA.$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$#A 1$1$1 SoB Ch!tDs !n /+ni ForE$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$## 1$1$, Misuse o? Shotgun Mics$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$## 1$, /ther Noise-Acoustic Sources$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$## 1$,$# Echo -NA.$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$## 1$,$% Cind Noise -NA.$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$## 1$,$1 (!ndling Noise -NA.$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$#% 1$2 Mini+i0ing Noise-Electronic -NE.$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$#% 1$2$# Noise Figure o? C!sc!ded A+pli?iers$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$#% 1$2$% <se "!l!nced F4& Microphones$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$#% 1$3 /pti+i0ing Sign!l-Electronic -SE.$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$#% 1$; CYA$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$#1
3.2.1.1 -.#(+le / C#non 3,LR............................................................................................................. 12 3.3.2.1 ,election -.#(+le / Choir on ,t#ge, Fidget$ Audience.............................................................10 3.3.2.2 ,election -.#(+le / 0oo( Actors on Couch in Living Roo(, Fidget$ Cre1 0ehind C#(er#....10

3.3.1.1 '(ni............................................................................................................................................. ) 3.3.1.2 C#rdioid......................................................................................................................................... ) 3.3.1.3 *$+erc#rdioid................................................................................................................................ ) 3.3.1.! ,hotgun......................................................................................................................................... )

, Speci!li0ed Topics$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$#, ,$# Production Flo7 /ptions$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$#, ,$#$# C!+er! Mounted <n=!l!nced Mic -such !s GideoMic.$$$$$$$$$$$$$$$$$#, ,$#$% 4o7 Noise Pre!+p -Huiced4in:.$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$#, ,$#$1 E8tern!l &ecorder$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$#, ,$#$, 'u!l Syste+$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$#, ,$% #3=it ,>I(0 5ersus %,=it @3I(0 Audio &ecording$$$$$$$$$$$$$$$$$$$$$$$$$$$$$#2 ,$%$# 'oes %,=it @3I(0 Sound "etterE No J$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$#2 ,$%$% 'oes %,/@3 &ecord "etter SN& ?or 'i!logue 7ith ! MicE No $$$$$$$#2 ,$1 Microphone &eco++end!tions$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$#3 ,$1$# Shotgun Microphones$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$#3 ,$1$% Cired 4!5!liere$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$#3 ,$1$1 Cireless Syste+$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$#3 ,$, <nderst!nding Mic Speci?ic!tions$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$#3

% &EA' T()S F)&ST* Fund!+ent!l Principles %$# )ntroduction

Get re#d$. 4ou 1ere #5out to le#rn # ton o6 in6or(#tion, in # short +eriod o6 ti(e. 7o (#ke it digesti5le 6or $ou, 1e8ve develo+ed the 9SA/NA - SE/NE - CYA9 %ethodolog$, so $ou 1ill 5e #5le to ret#in 1h#t $ou8ve le#rned, #nd :uickl$ 5e #5le to +ut it into +r#ctice. ;t onl$ t#kes #dherence to these three ste+s to #chieve :u#lit$ #udio on # 5udget ... 7his docu(ent is still # 1ork in +rogress. "e 1ill #lso 5e #dding (ore content l#ter. %#ke sure the su5scri5e to the juicedLink 5log, to get noti6ied 1hen u+d#tes #re #v#il#5le. "hen $ou8re out on F#ce5ook<71itter<Foru(s hel+ing $our colle#gues, ; 1#nt to see $ou s+re#ding the 1ord on =SA/SA SE/NE CYA>. 7h#t 1#$, ; 1ill kno1 th#t ;8ve done ($ jo5 1ith this 6ield guide ... ? Ro5ert 6ro( juicedLink

%$%

Sign!l-to-Noise &!tio -SN&.

7he (#in o5jective 6or recording :u#lit$ #udio, is $ou 1#nt to o+ti(i@e the sign#l?to?noise r#tio A,BRC in $our recording. 7he 6igure 5elo1 re+resents 1h#t # s+ectru( +lot 1ould look like 6or # tone th#t sign#l. 7he vertic#l #.is is the #(+litude, #nd the hori@ont#l #.is is the 6re:uenc$. 7he vertic#l #rro1 re+resents the (#gnitude o6 the tone sign#l level. 7he hori@ont#l line #t the 5otto( re+resents the level o6 so(e 5ro#d5#nd noise. 7he di66erence 5et1een the #rro1 #nd hori@ont#l line re+resents the sign#l?to?noise r#tio A,BRC.

--------------^ | | | | | |

Clipping Level

Signal Level (peaks at -12dB) Difference = Signal-to-Noise Broad!and Noise

2.2.1 Optimize Signal

"e 1#nt to (#ke the sign#l is high #s +r#ctic#ll$ +ossi5le. 0ut, there8s one constr#int, 1hich is electronic recording e:ui+(ent h#s # (#.i(u( sign#l th#t it c#n h#ndle 5e6ore it st#rts cli++ing. ,o, $ou 1#nt to le#ve so(e he#droo( 5elo1 the cli++ing level Ato+ line in the 6igure #5oveC, to #llo1 6or 6luctu#tions in the sign#l level. ,o, 1h#t is t$+ic#ll$ done is to #djust the sign#l level so the (eters in $our recording device Arecorder or c#(er#C +e#k #t #5out ?12d0 Full ,c#le.

2.2.2 Minimize Noise

-lectronic noise AhissC c#nnot 5e eli(in#ted 6ro( recording e:ui+(ent Alike c#(er#s or recordersC. 7he o5jective is to (#ke the noise A1henever the sourceC 5e #s s(#ll #s +ossi5le rel#tive to the sign#l. Boise c#n co(e 6ro( # v#riet$ o6 sources, such #sD EuestionsF Cont#ct juicedLink ! ? ju(+ to C'B7-B7, Get L#test e0ook Revision

0#ckground noise -cho "ind noise *#ndling noise -lectro(#gnetic inter6erence -lectronic noise

%$1

SA/NA - SE/NE - CYA Methodology )ntroduction

,AA** G BAA** G ,-- G B-- G C4A G it rolls right o66 the tongue. ,#$ it out loud # 6e1 ti(es. Re(e(5er it. "hen $ou #re in the 6ield, this 1ill 5e $our check to 5e sure th#t $ou #re not neglecting #n$thing in $our #udio +roduction 6lo1. "e h#ve #lre#d$ (entioned ho1 it is #ll #5out sign#l?to?noise r#tio A,BRC. 0ut, there8s # lot o6 co(+onents th#t go into it, #nd ho1 do $ou re(e(5er it #llD selecting the right (icro+hone, (icro+hone +l#ce(ent, (icro+hone orient#tion, 1h#t settings to use on the c#(er#, 1h#t settings to use on the +re#(+li6ier, (#king $our recording resilient to une.+ected events ... ,o, let8s 5re#k things do1n into s(#ller chunks ... Let8s 6irst consider ,BR on the #coustic side o6 things. ,o, 9 SA/NA9 re6ers to the 9,ign#l?Acoustic < Boise Acoustic9 r#tio. Consider#tions th#t $ou 1ill le#rn #s 1e go through this (ethodolog$ includeD ,electing the right (ic Ao(ni, c#rdioid, h$+erc#rdioid, shotgun, l#vC 6or the jo5 A SA/NAC Getting $our sources 1ithin the (ic #cce+t#nce #ngle ASAC 7ucking noise sources A#ir conditioner vents, the cre1C into (ic nulls A NAC *o1 to get the juiciest sign#l into $our (ic 6ront end A SAC %ini(i@ing 1ind #nd h#ndling noise ANAC

7hen consider ,BR on the electronics side o6 things. ,o, 9 SE/NE9 re6ers to 9,ign#l?-lectronics < Boise? -lectronic9 r#tio. Consider#tions th#t $ou 1ill le#rn #s 1e go through this (ethodolog$ includeD "hen do $ou need # re#ll$ no1 noise (ic ANEC ,electing # (ic to (ini(i@e electro(#gnetic inter6erence A NEC "h#t settings to use on the c#(er#<recorder A SE/NEC *o1 to use # lo1?noise +re#(+ to i(+rove ,BR o6 nois$ c#(er#s #nd recorders A SE/NEC

7hen, o6 course, 1e need to +ut it #ll together into # +rocess to (#ke sure th#t there8s no scre1?u+s, #nd 1e Cover 4ou Arse, or 9CYA9. Consider#tions th#t $ou 1ill le#rn #s 1e go through this (ethodolog$ includeD Hsing Audio 0r#cketing 6or c#(er# overlo#d +rotection A CYAC "h$ onl$ # 6ool neglects to 1e#r he#d+hones ACYAC "h#t ste+s to #dd to ($ +roduction 6lo1 i6 ($ c#(er# does not h#ve he#d+hones or (eters visi5le 1hile recording ACYAC

EuestionsF Cont#ct juicedLink

2 ? ju(+ to C'B7-B7,

Get L#test e0ook Revision

1 SA/NA * SE/NE * CYA Methodology

7he end o6 l#st section e.+l#ined 1h#t =SA/NA SE/NE CYA> re+resents. Bo1, let8s dive into the det#ils G

1$#

GET T(E M)C C4/SE

3.1.1 Inverse-Square Law (SA)

7he #coustic sign#l decre#ses r#+idl$ #s $ou (ove #1#$ 6ro( the source. ;t 6#lls o66 5$ the inverse?s:u#re l#1, 1here $ou loose Id0 o6 $our sign#l ever$ ti(e $ou dou5le the dist#nce 6ro( the source. ,o, consider this e.#(+leD %ic +l#ced 1 6t 6ro( +erson s+e#king %ove the (ic to 26t, $ou8ve lost Id0 o6 the origin#l sign#l %ove the (ic to !6t, $ou8ve lost 12d0 o6 the origin#l sign#l #nd so on G

,o, the dist#nce the (ic is 6ro( the source h#s # *HG- e66ect on the #(ount o6 sign#l th#t (#kes it into the 6ront end o6 the (icro+hone. Let8s (#ke note th#t the inverse s:u#re l#1 h#s # +ro6ound i(+#ct on the =,ign#l? Acoustic> ASAC in the =SA/NA SE/NE CYA> %ethodolog$.

3.1.2 Mi !la ement "#ample$ %a &groun' Noise (SA/NA)

Let8s #++l$ the inverse?s:u#re l#1 #nd it8s i(+#ct on =,ign#l?Acoustic> A SAC, to see ho1 it h#s just #s # +ro6ound i(+#ct on the sign#l?to?noise A,BRC th#t c#n 5e #chieved 6ro( # (icro+hone =,ign#l?Acoustic<Boise?Acoustic> ASA/NAC. Assu(e th#t 1e #re on loc#tion in # convention center, 1hich h#s # high #(5ient sign#l level 6ro( #ll o6 the +eo+le ch#tting #t the v#rious 5ooths on the 6loor. ;t doesn8t re#ll$ (#tter 1hich direction the (icro+hone is +ointed, the high #(5ient sign#l level o6 the ch#tter is +rett$ const#nt in #ll directions. Bo1, consider # (ic +l#ced close to # +erson s+e#king, #nd co(+#re th#t to 1hen the (ic is +l#ced 6urther #1#$ 6ro( the su5ject. 0elo1 is # s+ectru( +lot co(+#ring the t1o scen#riosD ^ | | | | | "ic Signal Level (Close to S#!$ect)

^ |

"ic Signal Level (%ar) &'!ient Signal Level

Fro( the t1o +lots, $ou c#n see the (ic sign#l level 1hen 6#r #1#$ 6ro( the su5ject s+e#king is (uch lo1er 5ec#use o6 the inverse?s:u#re l#1 #ttenu#ting the sound +ressure level #t # gre#ter dist#nce, 1hile the 5#ckground noise o6 the #(5ient sign#l level re(#ins the s#(e. Corres+ondingl$, the di66erence 5et1een the sign#l level #nd noise level 6or the (ic +l#ced 6urther #1#$ is (uch lo1er th#n 1hen the (ic is +l#ced close to the su5ject 1ho is s+e#king. ,o, to o+ti(i@e the ,ign#l?Acoustic<Boise?Acoustic ,BR, or = SA/NA>, going into the 6ront end o6 the (icro+hone, G-7 7*- %;C CL',- JJJ

3.1.3 Mi !la ement "#ample$ Mi Noise (SA/NE)

7his ti(e, inste#d o6 5#ckground noise, consider the c#se o6 # (icro+hone8s electronic sel6 noise. ,o, inste#d o6 Boise?Acoustic, 1e #re considering the Boise?-lectronic o6 the (ic. 0ut #g#in, no (#tter 1here $ou +oint the (ic, the (ic sel6?noise is #l1#$s const#nt. ,o, 1e h#ve the identic#l situ#tion #s descri5ed #5ove, 5ut the hori@ont#l line o6 the #(5ient sign#l level is re+l#ced 5$ the hori@ont#l line o6 the (icro+hone8s noise. Ag#in, to EuestionsF Cont#ct juicedLink I ? ju(+ to C'B7-B7, Get L#test e0ook Revision

o+ti(i@e ,BR, the rule is to G-7 7*- %;C CL',- JJJ

3.1.( )un'amental *ule$ +", ,-" MI. .LOS" (SA/NA)

7*;, ;, 7*- %',7 ;%P'R7AB7 RHL- F'R CAP7HR;BG EHAL;74 3;AL'GH- G G-7 7*- %;C CL',- JJJ 7his is es+eci#ll$ i(+ort#nt 6or lo1 level sign#ls like di#logue. 7he re#son getting good ,BR co(ing out o6 $our (ic is so i(+ort#nt is 5ec#use it 1ill set the (#.i(u( #chiev#5le ,BR 6or the entire s$ste(, #nd there is no 1#$ o6 =6i.ing> it 1ith other +roduction techni:ues, +roduction e:ui+(ent, or non?loss$ +ost +roduction tools. Although # juicedLink lo1?noise +re#(+ is e66ective #t i(+roving the sign#l?to?noise +er6or(#nce o6 +oor +er6or(ing do1nstre#( co(+onents like # nois$ c#(er# or recorder, it c#n B'7 i(+rove +oor +er6or(ing nois$ u+stre#( co(+onents, such #s # +oor ,BR c#+tured 5$ # (ic. 7he +re#(+ 1ill #ccur#tel$ re+roduce 1h#tever is +resented to it. 7his is to s#$ =g#r5#ge?in, g#r5#ge?out>. ,o(eti(es there #re so6t1#re tools th#t c#n hel+ in +ost. 7he$ 1ork 5est 1ith # noise source th#t is const#nt Alike the const#nt hiss 6ro( electronic noiseC. 0ut, it is e.tre(el$ di66icult to e66ectivel$ re(ove other noise sources, such #s echo, 5#ckground noise, 1ind noise, #nd h#ndling noise. -ven 1hen it c#n 5e done, it is ver$ ti(e consu(ing, #nd the techni:ues #re loss$ so it 1ill degr#de $our desired sign#l.

3.1.(.1 /a0s to get t1e Mi .lose %ounting # (ic on to+ o6 $our c#(er# is 6ine 6or run?n?gun +#+#r#@@i st$le shooting. 0ut, 1hen $ou 1#nt :u#lit$ di#logue, $ou B--3 7' G-7 7*- %;C 'FF 7*- CA%-RA AB3 CL',-R 7' 4'HR ,H0K-C7. Hse # 5oo( +ole #nd 5oo( o+er#tor ,et u+ the (ic on # C?st#nd Hse # h#nd held (ic Hse # l#v#liere Pl#nt # (ic in $our scene A5ehind # +l#nt, co(+uter (onitor, co66ee cu+C

1$%

Microphone "!sics

3.2.1 %alan e' vs 2n3alan e' Signaling (NE)

0elo1 is # +hoto o6 2 t$+ic#l (icro+hone connectors, 5#l#nced LLR #n un5#l#nced (ini+lug. Botice ho1 5oth h#ve 3 cont#cts. HB0ALABC-3 ,;GBAL Co(+rises 2 connectionsD ,ign#l M Ground BoteD # 3 cont#ct (ini+lug (#$ c#rr$ 2 un5#l#nced sign#ls Aright #nd le6tC +lus ground 7he 3 cont#cts #re re6erred to 7R,, or 7i+, Ring, ,leeve. For # stereo (ini+lug, the le6t ch#nnel is on the 7i+, right ch#nnel on the ring, #nd ground is on the sleeve. 0ALABC-3 ,;GBAL Co(+rises 3 connectionsD ,ign#l M ;nverted ,ign#l M Ground ,ign#l is re6erred to #s =M> or =*'7> #nd 1ill reside on LLR +in?2 ;nverted ,ign#l re6erred to #s =?> or =C'L3> #nd 1ill reside on LLR +in?3 Ground 1ill reside on LLR +in?1

"h#t8s the +ointF 7he #dv#nt#ge o6 # 5#l#nced sign#l is th#t # receiver c#n 5e designed in the +re#(+ 1hich 1ill c#ncel undesired sign#ls th#t get onto the ,ign#l M ;nverted ,ign#l conductors o6 # 5#l#nced line. 7his is kno1n #s Co((on %ode Rejection. ,o, 5#l#nced sign#ling is (uch less susce+ti5le to +icking u+ electro(#gnetic inter6erence th#t c#n get onto (ic c#5les ... %;B;%;N;BG B';,-. 7his hel+s lo1er the Boise? -lectronic ANEC co(+onent 6or o+ti(i@ing ,BR.

EuestionsF Cont#ct juicedLink

& ? ju(+ to C'B7-B7,

Get L#test e0ook Revision

"h#t does this (e#n in +r#cticeF 4ou 1#nt to h#ve long c#5le runs use 5#l#nced sign#ling. ,o, so(ething like the Rode Oideo%ic Aun5#l#nced shotgun (icC is 6ine 6or use on c#(er# Ashort c#5le runC. 0ut $ou 1ill 1#nt to use so(ething like the Rode B7G2 A5#l#nced LLR shotgun (icC 1hen $ou #re 5oo(ing to get the (ic close 6or :u#lit$ di#logue. ,o, # 5#l#nced LLR (ic like the B7G2 is (ore vers#tile, #s it c#n 5e used 5oth on c#(er#, or 1ith # c#5le 5oo(ed o66 c#(er# A6or 5est di#logue ,BRC.

3.2.2 40nami vs .on'enser Mi s

RHGG-3D 3$n#(ic (icro+hones #re (ore rugged. ,o, the$ 1ill t$+ic#ll$ 5e used 6or h#nd held (icro+hones. ,-B,;7;O;74 Condenser (ics #re (ore sensitive, #nd 1ill 5e used in things like shotgun (ics. P'"-R 3$n#(ic (icro+hones do not re:uire +o1er to o+er#te. Condenser (icro+hones re:uire +o1er. ,o(e condenser (icro+hones h#ve # 5#tter$ co(+#rt(ent AB7G2C. 'ther condenser (icro+hones Alike the B7G1 or B7G2C c#n receive +o1er 6ro( the device th#t the$ get +lugged into, c#lled Ph#nto( Po1er.

3.2.3 !1antom !ower

P*AB7'%?'BL4 %;C, A3OAB7AG-D 7he #dv#nt#ge o6 (ics th#t onl$ use +h#nto( +o1er Alike B7G1C is th#t the$ c#n 5e s(#ller<lighter, so e#sier to 5oo( or (ount to $our c#(er# Ano 5#tter$ co(+#rt(entC. 3;,A3OAB7AG-D 7he dis#dv#nt#ge is th#t +h#nto( +o1er 1ill dr#in the 5#tter$ 6ro( $our (i.er 6#ster. P*AB7'% O, 0A77-R4 / 3oes the (ic sound 5etter running 6ro( +h#nto( inste#d o6 5#tter$F For #ll +r#ctic#l +ur+oses, no. 7here c#n 5e # s(#ll di66erence in the (#.i(u( sound +ressure level the (ic c#n h#ndle, 5ut $ou8ll never co(e close to th#t in +r#ctice #n$ho1 Aor, $our e#rs 1ould 5e 5leeding 5ec#use it8s so loudC. 7here c#n 5e # s(#ll di66erence in the (ic i(+ed#nce, 5ut # lo1 noise +re#(+ th#t $ou (#$ use 1ith $our (ic (#kes the (ic i(+ed#nce s+ec ver$ 6orgiving. ,o ... no G P*AB7'% ,P-C, %ics s+ec8d t$+ic#ll$ #t ! O, or 11?! O. Running 12O 6ro( $our (i.er 1ill conserve (i.er 5#tter$ li6e. ,o, it8s nice 1hen $ou c#n 6ind # (ic th#t 1ill 1ork do1n to 11O. "ARB;BG 'BL4 #++l$ +h#nto( +o1er to condenser (ics 1hich re:uire it. For e.#(+le, never #++l$ +h#nto( +o1er to #n un5#l#nced (ic or 1ireless receiver. 4ou 1ill 5#sic#ll$ 5e shorting ! O to ground, #nd risk d#(#ging $our e:ui+(ent. Bever #++l$ +h#nto( +o1er to 1ireless (ic receivers, un5#l#nced (icro+hones or #d#+ters, ri55on (icro+hones, d$n#(ic (icro+hones. 7;PD Be15ieF 7#ke di66erent color t#+e #nd color?code $our (ics #nd #d#+ters 5#sed on their +h#nto( +o1er re:uire(ents. 7R'H0L-,*''7;BG For # (ic to o+er#te 6ro( +h#nto( +o1er, it re:uires the +h#nto( volt#ge #s 1ell #s # ground re6erence. ;n #udio 6or video +roduction, #udio e:ui+(ent is o6ten (ounted to the c#(er# rigs, #nd so(eti(es hu(<5u@@ c#n occur 5ec#use o6 ground loo+s. ,o, +eo+le 1ill t#ke ste+s to eli(in#te ground loo+s, like using ground li6t s1itches #nd the like. ,o, i6 $ou 6ind th#t $our +h#nto( (ic does not see( #s it is getting +o1er, check to (#ke sure the (ic is #ctu#ll$ getting # ground re6erence, es+eci#ll$ i6 # ground s1itch h#s 5een set to the L;F7 +osition. PLHG?;B P'"-R P P*AB7'% P'"-R ,o(e c#(er#s A(ostl$ ,on$ c#(cordersC +rovide # lo1 volt#ge AQ2OC 6ro( the 3.2(( (inij#ck (ic in+ut to +o1er un5#l#nced electret ele(ent 5#sed (ics. 7his is not the s#(e #s +h#nto( +o1er 6or 5#l#nced LLR (icro+hones. ? ju(+ to C'B7-B7, Get L#test e0ook Revision

EuestionsF Cont#ct juicedLink

1$1

Selection o? Mic Pol!r P!ttern

3.3.1 Mi !olar !atterns

Pol#r +#ttern +lots sho1 the #ttenu#tion o6 sound 1#ves incident 6ro( di66erent #ngles u+on the (icro+hone. For the +ots 5elo1, the (icro+hone orient#tion is +ointing u+1#rd. 3.3.1.1 Omni PA77-RB Acce+ts sign#ls 6ro( #ll directions. APPL;CA7;'B 3oes not su66er 6ro( =Pro.i(it$ -66ect> like direction#l (ics A5elo1C Pro.i(it$ -66ect is 1here (ics +l#ced close to the source A(outhC 1ill distort #nd 5eco(e ver$ 5#ss$ Providing the 5est ,ign#l?Acoustic<Boise?Acoustic A SA/NAC in high 5#ckground noise environ(ents, 5ec#use $ou c#n get it closer th#n other (ic t$+es ,itu#tions 1here sign#l could 5e co(ing 6ro( #n$1here

3.3.1.2 .ar'ioi' PA77-RB H+side do1n =he#rt> G =c#rdio> G get it G "ide 6ront end #cce+t#nce #ngle Attenu#tes sign#ls 6ro( the 5#ck Anull directl$ 5ehind (icC A s(#ll #(ount o6 #ttenu#tion 6ro( the sides APPL;CA7;'B "hen $ou need # 1ide 6ront end #cce+t#nce #ngle #nd #ttenu#tion 6ro( the re#r

3.3.1.3 -0per ar'ioi' PA77-RB Attenu#tes 6ro( the sides # little (ore th#n # c#rdioid 2 nulls #t o66set #ngles in the 5#ck ,t#rts #cce+ting (ore sign#l through # re#r lo5e APPL;CA7;'B, 3irection#l 6ront end #nd decent side rejection Clever use o6 nulls 6or #ttenu#ting noise sources *$+erc#rdioid c#+sule is o6ten selected 6or use in conjunction 1ith #n inter6erence tu5e to cre#te # shotgun (icro+hone

3.3.1.( S1otgun EuestionsF Cont#ct juicedLink ,*'7GHBD ) ? ju(+ to C'B7-B7, Get L#test e0ook Revision

Constructed o6 direction#l c#+sule Asuch #s h$+erc#rdioidC +lus #n inter6erence tu5e B#rro1 6ront #cce+t#nce #ngle ,igni6ic#nt #ttenu#tion 6ro( the sides. 7his is the (#in 6e#ture o6 # shotgun (ic. 7here #re t$+ic#ll$ # nu(5er o6 lo5es on the sides #t # lo1 level Athis +lot sho1s # single lo5e on 5oth sidesC. ,t#rts #cce+ting (ore sign#l through # re#r lo5e Longer inter6erence tu5e R (ore side rejection APPL;CA7;'B, ,itu#tions c#lling 6or the (ost directivit$ #nd side rejection Cre#te # 9circle o6 silence9 #round $our su5ject 5$ h#ving the shotgun +oint ne#rl$ str#ight do1n or ne#rl$ str#ight u+, rejecting the sign#ls entering into its sides.

3.3.2 "#amples o5 !olar !atterns an' SN* (S67N6)

,;GBALD Beed to (#ke sure $our #cce+t#nce #ngle is 1ide enough to cover 1h#t $ou 1#nt to c#+ture. B';,-D 7#ke #dv#nt#ge o6 #ttenu#tion #nd nulls #nd +l#ce noise sources A#ir conditioner vents, cre1C #t those #ngles.

3.3.2.1 Sele tion "#ample 8 .1oir on Stage9 )i'get0 6u'ien e ,C-BAR;' Choir on st#ge ,ign#l?Acoustic ASAC source e(#n#ting 6ro( l#rge geo(etric #re# Fidget$ Audience Boise?Acoustic ANAC 5ehind the (icro+hone ABAL4,;, 'F 'P7;'B, '%B;D Bot ver$ good choice, #s it 1ill #cce+t the noise A NAC 6ro( the #udience 5ehind the (icro+hone *4P-RCAR3;';3D Bot # good choice, #s it 1ill #cce+t the noise A NAC 6ro( the #udience 5ehind the (icro+hone vi# its re#r lo5e ,*'7GHBD Bot # good choice #s it h#s too n#rro1 o6 #n #cce+t#nce #ngle to #cce+t the sign#l ASAC 6ro( the 6ull 1idth o6 the choir, #nd it 1ill #cce+t the noise A NAC 6ro( the #udience 5ehind the (icro+hone vi# its re#r lo5e CAR3;';3D Gre#t choice #s it h#s # ver$ 1ide #cce+t#nce #ngle to #cce+t the sign#l A SAC 6ro( the 6ull 1idth o6 the choir, #nd it 1ill reject the noise A NAC 6ro( the #udience 5ehind the (icro+hone 1ith its re#r null

3.3.2.2 Sele tion "#ample 8 %oom 6 tors on .ou 1 in Living *oom9 )i'get0 .rew %e1in' .amera ,C-BAR;' 0oo( Actors on Couch in Living Roo(, Fidget$ Cre1 0ehind C#(er# ,ign#l?Acoustic ASAC source e(#n#ting 6ro( loc#li@ed geo(etric #re# Fidget$ Cre1 Boise?Acoustic ANAC 5ehind the c#(er# ABAL4,;, 'F 'P7;'B, '%B;D Bot ver$ good choice, #s it h#s no directivit$ to isol#te the loc#li@ed #ctors CAR3;';3D Bot # ver$ good choice 5ec#use i6 $ou 1ere to 5oo( 1ith #n orient#tion to tuck the 6idget$ cre1 into the re#r null o6 the (ic, the (ic 1ould 5e in the vie1 o6 the c#(er# *4P-RCAR3;';3D A good choice to 5oo( 6ro( #5ove 1ith the (ic orient#tion #ngle such th#t the 6idget$ cre1 1ill 5e #ligned 1ith one o6 the re#r nulls ,*'7GHBD A good choice to 5oo( 6ro( #5ove 1ith the (icro+hone #ngle such th#t the 6idget$ cre1 1ill 5e #ttenu#ted 5$ the (ic side rejection. *o1ever, $ou (ust 5e c#re6ul #5out echo. ,ee 10 ? ju(+ to C'B7-B7, Get L#test e0ook Revision

EuestionsF Cont#ct juicedLink

(ore det#ils in the Misuse of Shotgun Mics section.

3.3.3 So9 /1at:s an Omni )or;

*#ndheld (ics #re 6re:uentl$ o(ni 0ec#use the$ c#n 5e used close to the source A(outhC 1ithout Pro.i(it$ -66ect Providing the 5est ,ign#l?Acoustic<Boise?Acoustic A SA/NAC in high 5#ckground noise environ(ents L#v (ics th#t #re 1orn #re o6ten o(ni ;6 the l#v on so(e5od$8s shirt 5eco(es (is?directed, $ou 1on8t h#ve undesired #ttenu#tion

3.3.( Misuse o5 S1otgun Mi s

'R;-B7A7;'B 7he "'R,7 orient#tion 6or # shotgun (ic is +ointing str#ight out Alike, (ounted on to+ o6 $our c#(er#C. "ill +ick u+ #ll o6 the 5#ckground noise 5ehind $our su5ject 1ith its ver$ sensitive 6ront end. "ill +ick u+ # lot o6 the noise 5ehind the (ic A4'H A, 7*- CA%-RA 'P-RA7'RC 6ro( its re#r lo5e 0ut, 1hen $ou8re run?#nd?gun +#+#r#@@i st$le, so(eti(es th#t8s the 5est $ou c#n do. '5jectiveD Cre#te # 9circle o6 silence9 #round $our su5ject 5$ h#ving the shotgun +oint ne#rl$ str#ight do1n or ne#rl$ str#ight u+, rejecting the sign#ls entering into its sides. -C*' ,hotgun (ics don8t like echo. 7he inter6erence tu5e o6 # shotgun (ic gets con6used #t ti(e del#$ed sign#ls AechoC 1hich c#n cre#te # 9color#tion9 o6 $our #udio. ,o, # +ro 1ill t$+ic#ll$ not use # shotgun indoors, #nd choose # h$+erc#rdioid 6or indoor use inste#d. 0ut, $ou c#n still use # shotgun indoors. 7#ke c#re 1ith (ini(i@ing the echo. Get the %;C CL',so the echo is s(#ll rel#tive to the desired sign#l. 7he 9color#tion9 is (ore like # 2nd or 3rd order e66ect.

1$,

/ther Noise-Acoustic Sources

7oss #round 5l#nkets to cover h#rd sur6#ces. 0re#k u+ the 9reson#nt c#vit$9 o6 #n e(+t$ roo( 1ith l#rge +lush 6urniture. %#ke the ,ign#l?Acoustic ASAC level high rel#tive to the echo Boise?Acoustic ANAC 5$ G-77;BG 7*%;C CL',-

3.(.1 " 1o (NA)

3.(.2 /in' Noise (NA)

7he o+en?cell 6o#( 1ind screen th#t c#(e 1ith $our (ic is not su66icient 6or outdoor use. Hse @e++elin Acovers entire (icC, or so(ething like R$cote ,o6tie Acovers (ic 6ront endC Products like the R$cote ,o6tie 1hich onl$ cover the 6ront end le#ve ele(ents like the (ic 6ilter s1itch #nd inter6#ce to the LLR connector #nd rele#se +in e.+osed ,ur+risingl$, 1ind going over these ele(ents cre#te tur5ulence 1hich cre#tes (ic h#ndling noise Hse electric#l t#+e to cover these ele(ents -ng#ge the lo1?cut 6ilter on $our (ic "e#r he#d+hones 7he (eter doesn8t deline#te 5et1een dis+l#$ing ,ign#l?Acoustic A SAC vs Boise?Acoustic ANAC ;n const#nt 1ind outdoors, h#ve su5jects 1ith 5#ck to 1ind, #nd use # l#v or 5oo( 6ro( 5elo1, using su5jects 5od$ to 5lock 1ind.

EuestionsF Cont#ct juicedLink

11 ? ju(+ to C'B7-B7,

Get L#test e0ook Revision

3.(.3 -an'ling Noise (NA)

Hse shock(ount 6or (ounting (ic to 5oo( or c#(er# -ng#ge the lo1?cut 6ilter on $our (ic "e#r he#d+hones 7he (eter doesn8t deline#te 5et1een dis+l#$ing ,ign#l?Acoustic A SAC vs Boise?Acoustic ANAC 0oo( o+ "e#r he#d+hones PRAC7;C- 5oo(ing techni:ue to (ini(i@e h#ndling noise

1$2

Mini+i0ing Noise-Electronic -NE.

All recording devices Ac#(er#s, recordersC 1ill h#ve noise #ssoci#ted 1ith it. ;t 1ill v#r$. C#(er#s #re t$+ic#ll$ not ver$ good. Recorders c#n v#r$ gre#tl$ 6ro( e.cellent to +rett$ +oor.

3.<.1 Noise )igure o5 .as a'e' 6mpli5iers

7he 6irst #(+li6ier in the sign#l ch#in sets the noise ch#r#cteristics 6or the entire s$ste(. 7his is kno1n #s the 9Boise Figure o6 C#sc#ded A(+li6iers9. ,o, i6 $ou h#ve # nois$ c#(er# or recorder, $ou c#n 6i. th#t 5$ using # juicedLink lo1?noise +re#(+li6ier. 3.<.1.1 "#ample 8 .anon 4SL* "hen 3,LRs 6irst c#(e out, the$ got # 5#d re+ut#tion 5ec#use $ou could not turn o66 the AGC. Bo1, even 5udget 3,LRs h#ve (#nu#l control o6 their #udio. 7his #llo1s $ou to (#nu#ll$ throttle 5#ck the nois$ g#in in the c#(er#, #nd re+l#ce the nois$ g#in 1ith cle#n g#in 6ro( the juicedLink lo1?noise +re#(+, o+ti(i@ing ,ign#l? -lectronic<Boise?-lectronic ASE/NEC. ,-77;BG,D ;n the c#(er#, (#nu#ll$ throttle 5#ck the nois$ g#in to 1 click #5ove o66, #nd re+l#ce the nois$ g#in 1ith cle#n g#in 6ro( the juicedLink lo1?noise +re#(+li6ier. A3OAB7AG-,D Bo1 $ou c#n record directl$ to $our c#(er# 1ith e.cellent sign#l?to?noise +er6or(#nce, 1ith no need to s$nc $our #udio in +ost 1ith #n e.tern#l recorder. 4ou 1ill never 6orget to record $our #udio, 5$ neglecting to hit record on the e.tern#l recorder Anot just once, 5ut 7";C-C Euickl$ di#l in the sign#l level to the o+ti(u( setting 1ith the 6ront +#nel +otentio(eters Ainste#d o6 hitting g#in rocker 5uttons 6ound on (#n$ recorders, or h#ving to go into the 6ir(1#re o6 the c#(er# to set the levelC ,(#ll, light1eight, #nd +o1er e66icient. ;nst#nt 5oot ti(e 6or eventing C#n 5e used 1ith nois$ e.tern#l recorders Alike the *!nC, to i(+rove their sign#l +er6or(#nce using the s#(e +rinci+le si(il#r to c#(er#s

3.<.2 2se %alan e' =L* Mi rop1ones

0#l#nced sign#ling is less susce+ti5le to +icking u+ electro(#gnetic inter6erence. ,o, 6or long c#5le runs such #s 6ro( the c#(er# to the 5oo( o+er#tor, $ou 1#nt to use 5#l#nced LLR (icro+hones 1ith 5#l#nced sign#ling.

1$3

/pti+i0ing Sign!l-Electronic -SE.

"e 1#nt to (#ke the sign#l is high #s +r#ctic#ll$ +ossi5le. 0ut, there8s one constr#int, 1hich is electronic recording e:ui+(ent h#s # (#.i(u( sign#l th#t it c#n h#ndle 5e6ore it st#rts cli++ing. ,o, $ou 1#nt to le#ve so(e he#droo( 5elo1 the cli++ing level Ato+ line in the 6igure #5oveC, to #llo1 6or 6luctu#tions in the sign#l level. EuestionsF Cont#ct juicedLink 12 ? ju(+ to C'B7-B7, Get L#test e0ook Revision

,o, 1h#t is t$+ic#ll$ done is to #djust the sign#l level so the (eters in $our recording device Arecorder or c#(er#C +e#k #t #5out ?12d0 Full ,c#le. 7''L, %eter Potentio(eter on Pre#(+li6ier ,o(e recorders h#ve rocker 5uttons 6or #djusting the sign#l level. "hen $ou need to :uickl$ 6ine tune #n #djust(ent, hitting # rocker 5utton t#kes too long. ,i(il#rl$, it 1ill t#ke too long to go into the c#(er# 6ir(1#re #nd 6u(5le 1ith the (enu s$ste( 6or :uickl$ (#king sign#l level #djust(ents. 7he juicedLink lo1?noise +re#(+s h#ve 6ront +#nel +otentio(eters 6or this +ur+ose.

1$;

CYA
"e#r *e#d+hones 7he (eter 1on8t tell $ou i6 $our (ic is +oorl$ oriented, or i6 $ou h#ve too (uch 1ind<h#ndling<5#ckground noise, etc Hse colored electric#l t#+e to color?code $our (ics #nd connectors 1ith their +h#nto( +o1er re:uire(ents, to ensure $ou don8t i(+ro+erl$ use +h#nto( +o1er #nd +otenti#ll$ d#(#ge $our e:ui+(ent. ,ee Phantom Po e! section 6or (ore det#ils. Co#ch $our t#lent<#ctors reg#rding ho1 the #udio is 5eing c#+tured ;6 $ou #re using direction#l (ics, let the( kno1 1here to +roject their voice, #nd 1here the$ c#n not look #1#$ #nd s+e#k ;6 $ou #re using l#v (ics, let the( kno1 the$ need to (ini(i@e the rustle o6 clothing Hsing Audio 0r#cketing 6or c#(er# overlo#d +rotection 1hen +ossi5le 7he juicedLink Rigg$?%icro #nd Rigg$?Assist +re#(+s h#ve # uni:ue 6e#ture c#lled Audio 0r#cketing Consider, 6or e.#(+le, one o6 the 3LLR in+ut +re#(+s, like the Rigg$?Assist RA333 or Rigg$?%icro R%333 ;t h#s 3 LLR in+utsD LLR?L1 LLR?L2 LLR?R And, the c#(er# h#s 2 recording tr#cks Aright<le6tC. 7here is # %'B'<,7-R-' s1itch. ;n the ,7-R-' setting, LLR?L1 #nd LLR?L2 #re routed to the le6t ch#nnel o6 the c#(er#, #nd LLR?R is routed to the right ch#nnel. ;n %'B', #ll (ics #re (i.ed together, #nd +resented to 5oth the right #nd le6t out+ut. "hen the Audio 0r#cketing s1itch is turned on AR+#dC, then the right ch#nnel is #ttenu#ted 5$ #5out 1Id0. 4ou 1ould use this in the %'B' setting, so $ou h#ve the s#(e sign#l going to 5oth the right #nd le6t out+uts. ,o, i6 $ou 5lo1 out $our (#in recording on the le6t, $ou h#ve # 5#cku+ th#t $ou c#n +ull 6ro( in +ost on the right #t # s#6e lo1er level. ;6 $our c#(er# doesn8t h#ve (eters #nd he#d+hones 7hen $ou 1ill 5e using the (eters #nd he#d+hones in the juicedLink Rigg$?Assist +re#(+s. 0ut, this (e#ns th#t $ou #re not #ctu#ll$ (etering<(onitoring in the recording device. ,o, $ou need to t#ke #n e.tr# ste+ in $our +roduction 6lo1 to ensure th#t there is continuit$ to the c#(er#. 4ou don8t 1#nt so(ething #s sill$ #s neglecting to +lug the c#5le into the c#(er# #ll o6 the 1#$ to ruin $our d#$. ;6 $ou c#(er# h#s (eters in the setu+ (enu A1hich (ost doC, then 5e6ore $our shoot, veri6$ $ou h#ve continuit$ to the c#(er# #nd the right<le6t (eters in the c#(er# #re registering.

*ere #re so(e C4A ti+s, so(e o6 the( less intuitive th#n others.

EuestionsF Cont#ct juicedLink

13 ? ju(+ to C'B7-B7,

Get L#test e0ook Revision

, Speci!li0ed Topics ,$#

Production Flo7 /ptions

A3OAB7AG-, Light1eight #nd +ort#5le Gre#t 6or the run?n?gun +#+#r#@@i st$le shooter Record directl$ to c#(er#, no s$nc in +ost 3;,A3OAB7AG-, Bo +otentio(eter to di#l in o+ti(#l sign#l level %ic +osition is not o+ti(#l ,BR 6or di#logue. For :u#lit$ di#logue, c#(er# (ounted (ic too 6#r #1#$. Beed to G-7 7*- %;C CL',-.

(.1.1 .amera Mounte' 2n3alan e' Mi (su 1 as >i'eoMi )

(.1.2 Low Noise !reamp (?ui e'Lin&)

A3OAB7AG-, %ount # 5#l#nced LLR (ic Asuch #s the B7G2, A7 &2R, etcC to the c#(er# 6or run?n?gun +#+#r#@@i st$le Hse juicedLink lo1?noise +re#(+ to get 5etter ,BR 6ro( c#(er# 5$ the Noise "igu!e of Cascaded Amplifie!s +rinci+le Hse 5#l#nced LLR (ic Asuch #s the B7G2, A7 &2R, etcC #nd 5oo( o+er#tor Aor c?st#ndC to get (ic close to $our su5jects G-7, 7*- %;C CL',- to get 5est ,BR 6or di#logue Hses 5#l#nced sign#ling 6or the c#5le run 6ro( the (ic to the juicedLink, to (ini(i@e electro(#gnetic inter6erence Hse 1ith 1ireless (ics 6or tether?6ree o+er#tion Hse (ulti+le (ics, #nd individu#ll$ control (ic level 6or (i. Hse Audio 0r#cketing 6or c#(er# overlo#d +rotection juicedLink 6ront +#nel +otentio(eters en#5le :uick #nd #ccur#te setting o6 sign#l level, so $ou don8t need to go into the c#(er# (enu s$ste( #nd 6u(5le #round to set levels Gre#t +roduction 6lo1 6or one?(#n?5#nds or s(#ll cre1s

(.1.3 "#ternal *e or'er

A3OAB7AG-, record re(otel$ 6ro( the c#(er#. ,o, it c#n 5e +l#ced on st#ge Alike 6or # +i#no recit#lC 1hile $ou record 6ro( the 5#ck o6 the #uditoriu( 3;,A3OAB7AG 4ou 1ill need to s$nc $our #udio #nd video in +ost 7here is so6t1#re to hel+ $ou do this. 0ut, it 5eco(es (ore o6 # +#in 1ith l#rge nu(5ers o6 short cli+s A3,LRs c#n onl$ record 6or short +eriods #t # ti(eC B'7-, Although (#n$ recorders c#n record 1ith # higher 5it r#te co(+#red to (ost c#(er#s, there is no #dv#nt#ge to this in ter(s o6 sign#l?to?noise. ,ee #$%it &'()* +e!sus ,&%it -$()* Audio .eco!ding. ,o(e +eo+le h#ve the (isconce+tion th#t the$ (ust use #n e.tern#l recorder 5ec#use $ou c#n not record directl$ to the c#(er# 1ith e.cellent sign#l?to?noise +er6or(#nce. 7his is not true, so long #s $ou use # juicedLink lo1?noise +re#(+ 5e6ore $our c#(er# #nd t#ke #dv#nt#ge o6 the Noise "igu!e of Cascaded Amplifie!s +rinci+le 6or getting 5etter sign#l?to?noise 6ro( do1nstre#( electronics. 4ou 1! ? ju(+ to C'B7-B7, Get L#test e0ook Revision

EuestionsF Cont#ct juicedLink

(#$ ver$ 1ell h#ve # good re#son to use #n e.tern#l recorder 6or the +#rticul#r shot $ou #re c#+turing 6ro( # +roduction 6lo1 +oint o6 vie1. 0ut, i6 $ou think th#t $ou need to do this to c#+ture :u#lit$ #udio, th#t is incorrect.

(.1.( 4ual S0stem

7his 6lo1 is 5est suited 6or l#rger cre1s 1ith dedic#ted #udio te#(. A6ter shoot, video #nd #udio te#( c#n go o66 #nd 1ork on s1eetening their (#teri#l inde+endentl$, then s1#+ out the #udio scr#tch tr#ck 1ith the scru55ed tr#ck 1hen the$ st#rt to integr#te. 0#ck 1hen 3,LRs didn8t h#ve (#nu#l control A#nd recorded 1ith +oor ,BRC, it +rovided # :u#lit$ recording in the recorder #nd # scr#tch tr#ck to the c#(er# 6or Plur#l-$es to s$nc on. 7od#$, 1ith c#(er#s th#t h#ve (#nu#l control, he#d+hones, #nd (eters, it is not necess#r$ 6or :u#lit$ ,BR recording A1ith use o6 # juicedLink lo1?noise +re#(+C. 7his 6lo1 is 5est suited 6or l#rger cre1s 1ith dedic#ted #udio te#(. Ag#in, #lthough (#n$ recorders c#n record 1ith # higher 5it r#te co(+#red to (ost c#(er#s, there is no #dv#nt#ge to this in ter(s o6 sign#l?to?noise. ,ee #$%it &'()* +e!sus ,&%it -$()* Audio .eco!ding. Ag#in, so(e +eo+le h#ve the (isconce+tion th#t the$ (ust use #n e.tern#l recorder 5ec#use $ou c#n not record directl$ to the c#(er# 1ith e.cellent sign#l?to?noise +er6or(#nce. 7his is not true, so long #s $ou use # juicedLink lo1?noise +re#(+ 5e6ore $our c#(er# #nd t#ke #dv#nt#ge o6 the Noise "igu!e of Cascaded Amplifie!s +rinci+le 6or getting 5etter sign#l?to?noise 6ro( do1nstre#( electronics. 4ou (#$ ver$ 1ell h#ve # good re#son to use #n e.tern#l recorder 6or the +#rticul#r shot $ou #re c#+turing 6ro( # +roduction 6lo1 +oint o6 vie1. 0ut, i6 $ou think th#t $ou need to do this to c#+ture :u#lit$ #udio, th#t is incorrect.

,$%

#3=it ,>I(0 5ersus %,=it @3I(0 Audio &ecording

(.2.1 4oes 2(3it @AB-z Soun' %etter; No C

7here is # gre#t +#+er 5$ %e$er #nd %org#n o6 the Audio -ngineering ,ociet$ sho1ing th#t +eo+le c#n not discern the di66erence 5et1een 1I5<! S*@ versus 2!5<)IS*@. Although $ou need to 5e # (e(5er o6 A-, to #ccess the +#+er, there is # nice su((#r$ 6ro( %i. %#g#@ine8s #rticle c#lled /he Empe!o!0s Ne Sampling .ate.

(.2.2 4oes 2(7@A *e or' %etter SN* 5or 4ialogue wit1 a Mi ; No ...
*ere, 1e8re going to 1#lk $ou through #n #n#l$sis o6 the nu(5ers. 7*-'R-7;CAL ,BR FR'% AB ;3-AL ABAL'G?7'?3;G;7AL C'BO-R7-R AA<3C 1I 0;7,D 1I 5its h#s 2T1I ste+s resulting in # 6ull sc#le r#nge o6 20logA2T1IC R )Id0. 0ut, $ou onl$ (eter to ?12d0 6or su66icient he#droo( during recording. ,o, the e66ective theoretic#l d$n#(ic r#nge 6ro( #n ide#l AA<3C is )I / 12 R !d0. 2! 0;7,D 2! 5its h#s 2T2! ste+s resulting in # 6ull sc#le r#nge o6 20logA2T2!C R 1!!d0. 0ut, $ou onl$ (eter to ?12d0 6or su66icient he#droo( during recording. ,o, the e66ective theoretic#l d$n#(ic r#nge 6ro( #n ide#l AA<3C is 1!! / 12 R 132d0. ,o, 6or #n ide#l A3C, 2! 5its is indeed c#+#5le o6 recording 1ith higher ,BR th#n 1I5its. 0ut, 1ill $ou ever see this in +r#cticeF PRAC7;CAL ,BR FR'% 7*- 'H7PH7 'F A %;C R-C'R3;BG 3;AL'GH Consider # Rode B7G3, considered 5$ the industr$ to 5e #n ver$ lo1?noise (icro+hone. 7he B7G3 h#s # noise s+eci6ic#tion o6 13d0A ,BR 6or (icro+hones #re re6erenced to 1P# R )!d0 ,o, 6or # sound +ressure level o6 1 P#, the B7G3 +rovides # ,BR o6 )! / 13 R 1d0 7his is less th#n 5oth the theoretic#l ,BR 6or 5oth #n ide#l 1I5it or 2!5it A<3 ;n +r#ctice, the ,BR out+ut o6 the B7G3 is #ctu#ll$ (uch 1orse Re(e(5er, the (ic ,BR 1#s re6erenced to # sound +ressure level o6 1P#. Let8s +ut th#t into +ers+ectiveD 12 ? ju(+ to C'B7-B7, Get L#test e0ook Revision

EuestionsF Cont#ct juicedLink

2 P# is the sound +ressure level o6 # j#ckh#((er #t 1( 0.3I P# is the sound +ressure level o6 long ter( he#ring d#(#ge 0.03 P# is the sound +ressure level o6 # convers#tion #t 1( ,o, the re#l ,BR co(ing out o6 the (ic o6 # convers#tion is (ore like 0.03 P# R I!d0A. ,o, the ,BR out o6 the B7G3 is I! / 13 R 21d0 ,o, the ,BR out the (ic is the li(iting 6#ctor 6or ,BR +er6or(#nce in either c#se o6 # 1I5it or 2!5it ide#l A<3

,o, the out+ut 6ro( even # ver$ lo1 noise (icro+hone 6or di#logue 1ill 5e #5out 21d0. ,o, #n ide#l A<3 #t 2!5it is o6 no #ddition#l v#lue over 1I5it, since the sign#l to noise out o6 the (ic is the li(iting 6#ctor in 5oth c#ses. Bo1, this is not to s#$ th#t there isn8t # di66erence in the +er6or(#nce o6 recorder (odels. 0ut, it doesn8t h#ve #n$thing to do 1ith 5it de+th. 7he 5iggest di66erenti#tor 5et1een recorders<c#(er#s is the #n#log 6ront end. 0ut #s 1e h#ve seen in the Noise "igu!e of Cascaded Amplifie!s section, using # juicedLink lo1?noise +re#(+ 5e6ore nois$ #n#log 6ront ends c#n 6i. th#t.

,$1

Microphone &eco++end!tions

;n this section, ; #( going to +rovide $ou 1ith ($ +erson#l co((ents #nd reco((end#tions 6or (icro+hones, 1ith the underst#nding th#t $ou h#ve # 5udget to 1ork 1ith.

(.3.1 S1otgun Mi rop1ones

; #l1#$s +re6er to use LLR (icro+hones, inste#d o6 the c#(er# (ounted (inij#ck (icro+hones. ;6 #ll $ou8re going to do is strictl$ run?n?gun 1ork, then the c#(er# (ounted (inij#ck (icro+hones #re 6ine. 0ut, #s soon #s $ou 1#nt to get e.cellent sign#l to noise +er6or(#nce 6or di#logue, $ou 1#nt to get the (icro+hone o66 the c#(er#, #nd 5oo( it so it8s (uch closer to $our su5jects. 7hen, $ou 1#nt th#t (icro+hone to 5e #n LLR (icro+hone inste#d o6 the (inij#ck (icro+hone, 5ec#use 5#l#nced LLR sign#ling is (uch less susce+ti5le to +icking u+ noise #nd inter6erence then un5#l#nced (icro+hones. For # shotgun (icro+hone th#t is in the s1eet s+ot o6 +rice<+er6or(#nce, check out either the Rode B7G2 or Audio?7echnic# A7 &2R. %ore e.+ensive (icro+hones #re 5etter, 5ut onl$ incre(ent#ll$. For e.#(+le, (ics si(il#r to the B7G3 h#ve even lo1er noise +ro+erties, 5ut this 5etter noise +er6or(#nce re#ll$ onl$ co(es into +l#$ 1hen shooting # 1ide shot A(ic rel#tivel$ 6#r #1#$C in # ver$ :uiet environ(ent Alike # sound st#geC. Hsing the B7G2<A7 &2R #nd 6ollo1ing the +rinci+le o6 G-77;BG 7*- %;C CL',- #nd using # juicedLink lo1?noise +re#(+li6ier, $ou 1ill record 1ith e.cellent sign#l?to?noise. 7he :u#lit$ 1ith less e.+ensive (icro+hones rolls o66 # re#ll$ 6#st. Although the B7G2 h#s slightl$ 5etter s+ecs, ; 6ind ($sel6 using the A7 &2R #s ($ go?to (icro+hone, 5ec#use it8s so short #nd light, (#king it e#s$ to (ount to the c#(er# #nd e#s$ to 5oo(. 0ut, 1h#t (#kes it so s(#ll #nd light is th#t runs 6ro( +h#nto( +o1er onl$, so $our +re#(+ 1ill need to +rovide +h#nto( +o1er. 7he B7G2 c#n run 6ro( its o1n 5#tter$, so the +re#(+li6ier does not need to h#ve +h#nto( +o1er.

(.3.2 /ire' Lavaliere

For # 1ired l#v#lier th#t8s in the s1eet s+ot o6 +rice<+er6or(#nce, check out the A7 030.

(.3.3 /ireless S0stem

;8ve not 6ound ine.+ensive "ireless ,$ste(s th#t ; like. 7he ine.+ensive ones h#ve 5een :uite nois$ #nd h#ve dro+outs. ; use the ,ennheiser G3, #nd ; like it # lot.

,$,

<nderst!nding Mic Speci?ic!tions

Hnder Construction

EuestionsF Cont#ct juicedLink

1I ? ju(+ to C'B7-B7,

Get L#test e0ook Revision