MLiebergot
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Oct 20, 2008, 6:36 AM
Post #2 of 6
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Re: [people9300] thinking about getting the r44
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Adam, you name the situation for the R-44 to record in, and you can record it, no problem.
The R-44 has some great dynamic range and excellent built in limiter/pre amps.
But like ANY recording device, your results will vary if not setup correctly. Unfortunately there isn't a recorder alive that will be flawless with extreme audio shifts without the need fo a recording engineer to make the adjustments. Just as there is no video camera that will produce excellent results in all shooting conditions. For best results, it's always best to run setups on manual and adjust on the fly when needed. But there are steps one can take to produce satisfactory to stunning audio by setting up your audio setting properly beforehand. Which I know that you are aware of.
The first thing is, DON'T USE AUTO for critical audio. The results will very too much and I guarantee that you won't get consistant results.
In scenarios where you KNOW that you will have dramatic low/high db difference then you must setup the R-44, by splitting the difference so to speak.
Since you have 4 channels to work with, I would mic the low source separately and run it accordingly. Same goes for the extremely loud source.
Instead of you wireless config, I might recommend this setup for a wireless recording situation.
For a Ceremony (This will depend on how many wireless units you have, we have 4).
1. Wireless from Groom (CH1)
2. R-44 placed on lectern, run mic directly into (CH2)
3. Wireless mic on musicians (CH3)
4. Run wireless (stereo to mono mixdown of CH 1/2) out of R-44 via RCA Line out to your camera for monitor sync audio at your camera
Reception Audio (I prefer to mic the room or PA stack):
1. Mic PA stack woofer (CH1)
2. Mic PA stack tweeter (CH2)
3. Mic crowd for ambient non-critical audio (I use stereo AT822 mic which requires 2 channels XLR inputs on the R-44. Mic would face out away from the PA stack towards the crowd.) (CH 3/4)
4. Wireless RCA Line out of CH 1/2 to your camera for sync/monitor/backup audio. Use your onboard shotgun mic for interviews and ambient audio if needed.
Apply the onboard limiter to all channels (especially the ones that are going to be loud).
Audio gain levels will vary depending on what you are recording (I tend to use -35 DB pre amp setting for very loud and have the input trim about 1/4 of the way)
BTW, what you are commenting on how well your DSR390 was with extreme audio was due to using the onboard AGC audio. Which I don't like to use for critical audio, due to the recorder adjusting the noise floor for extreme low audio (audio hiss appears). Also in my opinion too much audio pumping can be created if there are extreme shifts in the audio levels.
If your recorder has good onboard limiters, as the R-44 does, then you are pretty good to go with not worrying about clipped audio. As well as nice quiet audio (no hiss) when you need to record quiet audio.
Michael
Cameras: (3) Sony FX1, Canon HV20
Audio: Marantz PMD620, Edirol R44, ZoomH4N, ZoomH2, Sennhesier G2
Mics: Rode NT5, Rode NT3, Rode M3, Rode NTG2, Shure SM57, AT822
Software: Sony Vegas, Final Cut Studio
Computer: MAC BABY! MacPro, MacBook Pro
(This post was edited by MLiebergot on Oct 20, 2008, 6:53 AM)
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