Getting good Audio is no
mistake
Spending time
thinking about sound will
help you avoid problems in
the editing room.
There is nothing worse than
having a great scene,
visually beautiful, with
great content ..but the
audio is too low, or has a
buzz.
You can eliminate this stuff
by getting it right....at
the point of recording.
This newsletter is designed
to help you gain an overall
strategy in recording sound
for your video.
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1 + 1= 2 Separate Audio
Channels
The basic audio recording
starts with the place the
signal gets recorded, and
that's the 2 audio channels
on your camcorder.
On
most cameras there are two
high quality audio channels,
on more advanced
cameras, there are as many
as four. Most of you will
purchase cameras that have 2
audio Channels.
These two audio inputs are
the key to getting good
audio, by using them you are
switching off the built-in
mic that came with
your camera. Then you will
plug higher quality
microphones into these 2
inputs.
The manufacturers have
improved the built-in
on-camera microphones, but
they tend to make the person
sound distant unless
they are close to the
camera. Often times you do
not want to be in your
subjects face, and need to
get good audio...that's when
these mics under- perform.
That is why I do not suggest
using the mic that came with
your camera. Use real mics.
To get access and plug your
mics or audio into these 2
Channels, there are two
types of Input Connections.
More expensive cameras (as
in photo above) have two
built in XLR connections
(one for each channel).
On cheaper cameras (example:
Canon Camcorder image below)
there is only one
connection, a small female
mini plug input.
Even though these cheaper
cameras only have one input,
they still have two separate
channels..you
must use a BeachTek Adapter
in order get two DIFFERENT
AUDIO SOURCES into
the this type of camera at
the same time.
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Suntan Lotion not needed for
this BeachTek
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BeachTek
DXA-2S
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Male Mini
plug for camera input
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2 Female
XLR Inputs for
microphones.
If you
own a Canon HV30 or
HV40, or any camera with
a single mic input...buying
a Beachtek is one of the
best purchases you can
make for under $200.
On the Rear Connection
Panel, you will see the
two XLR inputs.
It gives you the ability
to record two sources at
the same time, on 2
individual channels, and
than later you can
decide how to mix them
together...but
the important part is
that you have them
recorded separately...leaving
important audio
decisions to the edit
process.
You may raise and lower
the volume with the
controls on the front
panel...I tend to keep
these at 3/4 position
and use the camera's
audio controls when
filming.
NOTICE THE "M -S" switch
on the front panel of
the BeackTek...Keep
this on "S" to keep
SEPARATE audio
Channels. Put it on "M"
to mix both audio
sources together.
"M" would be used in
situations like a
Performance or Play,
when you are handing the
tape right over without
editing. Then when your
client plays it, or the
copies, the Sound will
be mixed TO BOTH TRACKS.
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No bucks for a BeachTEK?
.....don't worry be happy
There is a twenty dollar
solution.
Purchase a
Female XLR to mini
adapter like in
the photo.
The only issue
with this solution is
that it
forces you to record One
Signal on both audio
Channels, you
need a BeachTek in order
to use both tracks
independently.
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Just when you thought you
were done...
This is one of the BIGGEST
MISTAKES...it can really
mess you UP.
Notice in above image....next
to INPUT 1...it says REC CH
SELECT...and the switch is
next to CH!>CH2.
UNLESS YOU ARE FILMING A
PLAY OR PERFORMANCE, this is
INCORRECT.
What this
switch next to CH.1 is
doing..is telling the
CAMCORDER TO RECORD CH.1 TO
BOTH CH.1 & CH.2
(similar to the BeachTek
being set to "m")
YOU MUST
SWITCH this to REC CH
SELECT: CH.1
Then Ch.1 will record to
Ch.1 and Ch2 will go to Ch.2
IF YOU DO NOT CHANGE THIS
PHYSICALLY ON THE CAMERA ...
(IN
THE CASE OF THE CANON HDV
XH-A1 SERIES.. IT IS IN THE
CAMERA'S VIEWFINDER MENU..not
on the camera itself)
....ANY
AUDIO SOURCE PLUGGED INTO
CH.2 WILL NOT BE HEARD IN
THE HEADPHONES OR RECORDED.
If you have ever tried
plugging a mic into Ch.2 and
heard nothing..try checking
these settings.
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Mic vs. Line
You must tell the camera
what type of signal you
are sending to each of
the audio channels.
There are two basic
forms of audio
MIC and LINE
These are often referred
to as impedance
levels......but the only
time you will call them
that is at dinner
parties as you try to
impress your friends
with your audio
knowledge .
MIC- is the type
of signal that is
generated by most
microphones that are
directly plugged into
the camera.
LINE- is usually
associated with a signal
generated by a audio PA
(PUBLIC ADDRESS) System
or A mixing board at a
music venue.
YOU MUST FIND the
selection MIC / LINE
SWITCH next TO
THE XLR INPUTS on your
camera or BeachTek.....
and switch it to
the corresponding TYPE
OF AUDIO SOURCE you are
plugging in.
If you record a mic into
an audio channel that
has Line selected, you
will get low levels, tin
sounding and even a
buzz.
THIS IS A COMMON SCREW
UP THAT CAN CAUSE YOU
BIG PROBLEMS LATER ON.
DO NOT RATIONALIZE BAD
SOUND, OR BLAME IT ON
YOUR HEADPHONES.
To avoid these problems
double check your
settings at each
location.
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Some
Canon Cameras have
the MIC/LINE
selection inside the
camera menu.
-
Sony and Panasonic
with built-in XLRs,
there is a physical
SWITCH near each
XLR.
-
The BeachTek has a
Line/Mic Switch
above each XLR Input.
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Be Level Headed
No Prozac needed to get
good audio levels.
The best way to control
the volume of audio
recorded is to use the
Manual settings
on your camera. There is
automatic audio control
on all cameras.
In order to have the
confidence to move from
AUTOMATIC AUDIO LEVEL
(sometimes referred to
as AGC-automatic gain
control) to MANUAL AUDIO,
understanding the audio
levels on your camera is
the first step.
Most cameras give you
some control over audio.
The first step is
switching the two audio
Channels to Manual.
Then adjusting
the audio as you go.
Volume controls can be
dials on the side or
back of the camera, or
menu based in your
viewfinder (Canon HV30 &
HV40)
Audio levels must be
monitored constantly
as you are
shooting...most cameras
have some way of
watching the levels in
the viewfinder.
You want the audio to
PEAK just before the
signal hits it ZERO
POINT (on some cameras
this is 0db, on others
-12db), in many cases,
the camera's viewfinder
will turn the signal
into Yellow as a CAUTION
and RED as TOO LOUD.
Try and keep the main
audio as close to the
Yellow as possible
(using camera's audio
controls). In
most cases it is okay
for it to go a little
over this at loud
moments.
If the
Sound is
SO LOUD, such as
a rock band, and you can
not get the level below
the PEAK...find the
MIC/LINE switch or menu
selection,
SELECT MIC ATT.
This will lower the
audio to give you
control.
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CLIP-ON Lavalier Mics
for interviews & your main
subject's audio.
If your doing an
interview, recording the
host of your marketing
video, or following the
subject of your
documentary around...you
must use a tiny clip-on
mic.
Placed on a collar or
shirt edge, and in some
cases hidden inside
clothing, these mics ARE
A MUST for any serious
production or web
video.
These mics can be a
WIRELESS or WIRED
connection to the
camera.
Most
wireless systems are
"MIC LEVEL" impedance.
BEST NON-WIRELESS
LAVALIER MICROPHONES
In terms of wired mics I
suggest
The Sony ECM44b
Audo Technica 189
Tram TR50 Hard wired
These are affordable
alternatives to the more
expensive wireless stuff
below. THE AUDIO
QUALITY IS SIMILAR, it
is just that
your subject must be
connected to your camera
with a wire. For
sit down interviews that
is fine, but
for "walk and Talk" or
"chill footage" this can
hamper your subjects
freedom of motion.
BEST WIRELESS LAVALIER
MICROPHONE SYSTEMS
The price range is big ,
here is what I suggest
The Basic Kit
Sennheiser G2 series
The Sennheiser G2 series
comes with a mic that is
vastly out-performed by
OTHER mics made by TRAM
& COUNTRYMAN.
I suggest adding this
$229 Tram TR50
to the ABOVE package.
The better than Basic
Kit
Lectrosonics 100 Series
- Wireless UHF Lavalier
Microphone System with
M152 Lavalier
I would also suggest
ordering the Tram TR50
with this package, make
sure you ask for the
Tram with a connection
for this exact unit.
BUY A BACK-UP WIRED
LAVALIER MICROPHONE IF
YOU HAVE THE FUNDS.
WIRELESS MICS CAN GET
INTERFERENCE FROM
BLACKBERRY DEVICES OR
OTHER WIRELESS
SIGNALS....most
professionals always
carry one or two wired
lavaliers as back up.
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Shotgun/Directional
Microphones
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Audio Recording Strategies
We have discussed the
different mics, the concept
of two separate audio
channels, the idea of LINE
and MIC and Audio control
being AUTOMATIC or MANUAL
Control.
- In
documentary or slice of
life video work,
if there is a lot going
on, interviewing,
producing, shooting at
the same time...... I
put the subject's
wireless lavalier on
Automatic, and keep the
Shotgun on Manual.
- In a
sit down controlled
environment, I put
everything on manual.
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I want to
caution you against
using AUTO with the
shotgun mic. It will not
sound as good and the
"reach" (distance
between you and the
subject) is reduced.
Just try a test
yourself, plug in your
new shotgun mic, than
with headphones
on..switch between
MANUAL AND AUT0....it
will be clear to you
which is better.
- SOUND
BLANKETS ON THE FLOOR
CAN REDUCE ECHO IN A
ROOM.
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SHUT OFF
REFRIGERATORS AND COOKOO
CLOCKS
- THINK
ABOUT
BACKGROUND NOISE
BEFORE DOING AN
IMPORTANT
INTERVIEW....for
example: Filing
interviews at a loud
awards dinner...take the
person outside or to a
quiet hallway to film
important story telling
interviews.
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Summary of Audio Essentials
for Video
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