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[Garynyc]

Im willing to do most anything to make my daily bread, Tree, even if it means hitting the road with the lowly Sound Forge..

Thanks for your reply!

G

[SafeandSoundMastering]

The RNC will only do stereo, not discrete mono channels, so it is not ideal for working with speech needing mono channels really. In saying that with this particular case you could slap it on the master going to the flash recorders.

We need to keep perspective, low budget and getting a workman like job done, if you had these on 4 channel inserts:

http://www.behringer.com/EN/Products/MDX4600.aspx

Your audio would sound better. This is not critical recording, audiophile work, but basic dynamic range control is sensible and nigh on a pre-requisite. (even on a budget IMO, thats why Behringer exists)

My experience with Behringer equipment is that is it cheap, reasonably reliable over 3-4 years, quite coloured (tad harsh, little roll off of top end) and either works when you get it or it doesn't. FWIW, I actually like the compression action of Behringer Composers, predictable, very controllable, and of a specific character, and I don't really give a rats what anyone else thinks. If I had a Composer that did not muffle audio (as in passed through nice and clean) I would be happy to use one on pretty much anything compared with other cheap compressors like dbx cheapo stuff, Focusrite compounders, TLA, and Pro VLA II's etc. As I understand it they were a copy of a Drawmer compressor design.

I hasten to add the only thing I use Behringer Composers for now is as an active splitter on rare occasion.(and that was the first ones they made which were made very well 15 y.o. and still working )

As the CF machines only have 2 inputs you are sub-mixing mics yes ?

Seems you are tied by the kit you have been given, I respect you for asking how to improve this situation.

cheers

[Garynyc]

Thank you SafenSound;

I dont supply or spec any of the gear we use. We have to deal with what we are given. The only thing we can do to is edit the recorded file in sound forge. I appreciate the gear ideas, but thats not an area as a freelancer that I have any say-so.

 

[SafeandSoundMastering]

Any time G, then your friend is the input gain: set low.

You can de-noise better than you can de-distort.

Your situation is different but when I freelanced in the vast majority of cases I took my own kit, I knew it was maintained to the highest standard, I knew each lead I made was tested, and I knew
the kit was tested and worked before it hit the road.

cheers

[Garynyc]

Roger that, BG!!!

[lowland]

What you're doing is "essentially" broadcast work, meaning: multiple sources, different processing requirements by source, and killer deadlines.   

There is a reason SADiE and Samplitude are used in broadcast: they were designed to do the things you need to do fast.

Yay to that. Shame Gary is stuck with Soundforge - SADiE can be very quick for this kind of stuff, I still do a percentage of speech-based edit work and find it invaluable. I just bought a new mouse (Genius) and keyboard (Microsoft) and have realised that I wasn't aware how much the previous ageing set was slowing me down, things are even slicker now.

[jamesp]

The only thing we can do to is edit the recorded file in sound forge. I appreciate the gear ideas, but thats not an area as a freelancer that I have any say-so.

As a freelancer you should be able to buy your own tools that will do the job. Sound Forge might well do the job in the end but it will take 10 times longer than a more appropriate piece of software. Since you have a copy of Sound Forge, you may also have access to a version of Vegas (it came free with my copy of Sound Forge) which may be more appropriate for what you want to do as you can chain effects and split the file up and put sections on different tracks with different processing.

James.

[Garynyc]

Hi James;

Will Sadie or another application really improve workflow over Soundforge? Can you give me some examples that I may use if I confront our betters with new information?

Thanks!

[ggidluck]

Also Gary you mentioned something about a "tin can" sound. You never went into any detail about microphones. Microphones and their placement are without question the single most important factor in the sound quality.

Let us know what is being used. While this is beyond the scope of mastering if you can make improvements to the audio capture it will make your job easier.

[Garynyc]

Gidluck as I have said in previous posts I'm working all over the country at hotels and convention centers. We don't supply any of the sound gear. We just get a feed from the mixers/patch bays.

[ggidluck]

I was hoping that you could convince this company to allocate some funds to either improve the audio capture or add software that would help streamline your workflow. (In the long run to make your job easier).

[Garynyc]

Gluck they are too busy building up their web presence and internal server infrastructure. Im not faced with an impossible job, Im just looking to get a streamlined workflow going in Soundforge...

What order should I:

• Normalize--What level with RMS?
• Clipped Peak Restoration
• Clipped Peak Detection
• What level should I clip the peaks to?
• Noise Reduction
• Mix from stereo to Mono--Its voice recording
• Any other practical steps Im missing for recording speech?

Thanks for any help people!
[/list]

[Jason Poff]

I've had good luck in similar situations with the waverider plugin found here: 

http://www.automaticmixing.com/


You dupe the track, insert plugin on the duplicate, then assign the plugin to control the fader on the original track.

Then you nudge the duplicate 400ms forward so the plugin has time to respond to the incoming RMS or peak level.  (I believe peak only needs 40ms or 40 samples I can't remember)

Takes some tweaking, but I can generally get something that's set and forget in about 10 minutes.

[Garynyc]

Oh its Mac only. unfortunately we only have laptop PCs to edit with. Thank you all the same...

[Jason Poff]

I believe waves makes a similar product.