Double- or single-system sound? at DVinfo.net

katelins · July 18th, 2002, 08:32 AM

Hello, I hope I understand these terms correctly. When it comes to double-system sound, how would you sync the sources in DV? What equipment would you recommend that I begin doing research on? I wouldn't mind investing around $1000 or so for audio or more, and learning about sound enough to be an amateur sound mixer for my own productions. Can anyone tell me what a good starting setup would be or would you just recommend I record directly to camera? Thanks for your help!

Don Palomaki · July 18th, 2002, 01:11 PM

What kind of productions are you doing and in wht environment will you be shooting? That informationis important for selecting a sound system.

katelins · July 18th, 2002, 04:15 PM

I'd like to be able to have the choice to submit my completed projects for local film festivals, so I'd like the sound to be better than passing. Depending on the script, this could mean for a variety of environments of course so I am primarily concerned with a good audio setup that is both versatile and the best for my dollar in that range. Occasionally, we may have some steadycam shots, which means the setup has to be somewhat portable. One of the stories includes narration as well on top of the audio in the film. Any recommendations would be greatly appreciated. Thanks!

K. Forman · July 18th, 2002, 04:29 PM

I prefer using a mixer/ HD recorder, and only use the oncamera audio as a reference for synching, and sometimes to fill in for a more stereo sound. I use Premiere as an editor, mostly because it actually shows the waveforms in the audio track, and not just a flat line. I find a landmark on the cameras audio, then match the captured audio to it.

The recorder I use is a Korg D12, which has its ups and downs. Upside is it records 18 hours of great audio. Downside is that it isn't the most portable device, and needs to be plugged in for power. I paid almost $1000 for it.

Coincidently, DV magazine featured audio recording in the field. The author used a Deva II, which runs on batteries, and uses removable HDs. It was $10,000.
Keith

Don Palomaki · July 18th, 2002, 06:27 PM

First and formost you need good mics. Sennheiser ME66/K6 combo is good and is a popular combination. They run say $350 each.

The XL1 in 16-bit/48 kHz mode is a fair audio recorder and its S/N is not all that bad, especially if you are loading it with field recording (as opposed to studio recording). But you should have a MA-200/100 to go with the mics. The MA-100 is just under $200.

Two mcis some cables, maoen stands or a cheap boom, and a MA-100 just about eats up the budget.

Some folks like to record to MiniDisc in the field, which gives about CD quality sound. They sync in post. You can find professional quality MiniDisc gear. It is not DAT, but does not carry the DAT cost either and it takes a good ear the hear the difference.

July 18th, 2002, 08:32 AM	#1
katelins Regular Crew Join Date: Jan 2002 Location: Honolulu, Hawaii Posts: 31	Double- or single-system sound? Hello, I hope I understand these terms correctly. When it comes to double-system sound, how would you sync the sources in DV? What equipment would you recommend that I begin doing research on? I wouldn't mind investing around $1000 or so for audio or more, and learning about sound enough to be an amateur sound mixer for my own productions. Can anyone tell me what a good starting setup would be or would you just recommend I record directly to camera? Thanks for your help!

July 18th, 2002, 01:11 PM	#2
Don Palomaki Wrangler Join Date: Sep 2001 Location: Northern VA Posts: 4,489	What kind of productions are you doing and in wht environment will you be shooting? That informationis important for selecting a sound system.

July 18th, 2002, 04:15 PM	#3
katelins Regular Crew Join Date: Jan 2002 Location: Honolulu, Hawaii Posts: 31	I'd like to be able to have the choice to submit my completed projects for local film festivals, so I'd like the sound to be better than passing. Depending on the script, this could mean for a variety of environments of course so I am primarily concerned with a good audio setup that is both versatile and the best for my dollar in that range. Occasionally, we may have some steadycam shots, which means the setup has to be somewhat portable. One of the stories includes narration as well on top of the audio in the film. Any recommendations would be greatly appreciated. Thanks!

July 18th, 2002, 04:29 PM	#4
K. Forman Capt. Quirk Join Date: Apr 2002 Location: Middle of the woods in Georgia Posts: 3,596	I prefer using a mixer/ HD recorder, and only use the oncamera audio as a reference for synching, and sometimes to fill in for a more stereo sound. I use Premiere as an editor, mostly because it actually shows the waveforms in the audio track, and not just a flat line. I find a landmark on the cameras audio, then match the captured audio to it. The recorder I use is a Korg D12, which has its ups and downs. Upside is it records 18 hours of great audio. Downside is that it isn't the most portable device, and needs to be plugged in for power. I paid almost $1000 for it. Coincidently, DV magazine featured audio recording in the field. The author used a Deva II, which runs on batteries, and uses removable HDs. It was $10,000. Keith

July 18th, 2002, 06:27 PM	#5
Don Palomaki Wrangler Join Date: Sep 2001 Location: Northern VA Posts: 4,489	First and formost you need good mics. Sennheiser ME66/K6 combo is good and is a popular combination. They run say $350 each. The XL1 in 16-bit/48 kHz mode is a fair audio recorder and its S/N is not all that bad, especially if you are loading it with field recording (as opposed to studio recording). But you should have a MA-200/100 to go with the mics. The MA-100 is just under $200. Two mcis some cables, maoen stands or a cheap boom, and a MA-100 just about eats up the budget. Some folks like to record to MiniDisc in the field, which gives about CD quality sound. They sync in post. You can find professional quality MiniDisc gear. It is not DAT, but does not carry the DAT cost either and it takes a good ear the hear the difference.