Ep 3 & 4 so clear, thankyou George. Looks like 'noise floor' is individual: not just what we measure but in relation to how much sound we give the mic. 'Booming' voices or cartoon pipes can turn the wick down and with it the noise. Quiet guys like me might get in closer! With your method, my TW meter reads better than -60 peak (rural location) so it would be interesting to learn what's seen as good or excellent across various industries.
Hey, you've got style Ed!
Wonderful! Do you know Maurice Winnick's 'Kentucky'? A great tune 'with vocal refrain' and I kept the two halves of my broken 78 for years. It's the one recording that doesn't seem to pop up anywhere.
Great characterisation. If you record more, they'll benefit from a less boomy room acoustic, so we can really hear you!
A brilliant service, complemented by creativity and humour in their video.
Good power tip there for anyone who sings, acts, or speaks in public
Fantastic result - the ears have it! What's impressive too is the speed of installation, and no choking adhesives.
Unique to an active analogue compressor (though not all types) is the overshoot on the leading edge of sounds. It's often used creatively to restore a sense of attack to drums, and it can spice up vocals. That's OK for a singer, though it easily sounds ugly on what I record which is plain solo speech. My compromise for narration is moderate analogue, about 2:1, followed by mild DSP. Never pushing either too hard!
Funny thing is, this 'performance' led to a first on-camera booking - as a respectable, non-speaking businessman, in a heavy-metal rock video!
Outstanding sound and vision so why such minimal support for Mac? I had to send my C910 back for refund. All sorts of things it just would not do on my Snow Lep, quite apart from the limited control. Logitech must wake up on this matter, and as Phil says, they should spell things out in their documentation.
Ancient Sennheiser HD580 headphones definitely respond all the way across. But they don't have the 'feel' of a speaker sub. Very useful - thanks to you Gadman.
HHGTTG got a mass following in UK when it launched in 1978 on the BBC's national Radio Four. Memorable droll performances from comic actor Peter Jones, and from sound effects genius Paddy Kingsland. Sample tile: The Restaurant at the End of the Universe. Whimsical and intelligent, the source of legend, as Kaushik notes: 'the Answer to the Universe is 42'. R.i.p. dear Douglas.
Sounds more convincing than speakers usually do when re-recorded. What a great demo. I use an eight-inch Celestion driver on a two foot tall stand for checking voice recordings: much more natural and revealing than any boomy/tubey box that I could reasonably afford. Had no idea there's a community of the baffle-free!
Take a look also at the new (announced December 2012) Leap Motion. It's like a kinect: you don't touch anything, just gesture over the little gizmo which is about the same price as the MT. I haven't bought it yet: trying to decide between these two possible ways to control audio tracks for editing. Like others, I am fed up with Magic Mouse dropouts and battery-charging.
Hey, really great demo... but I want to agree with trackend1 that an analogue meter still has some advantages for fine-tweaking DC or audio levels. And you can read it from the corner of your eye while you are focused on aiming the probe. And it will reveal a fast fluctuation in a voltage, which the digi won't. But I'm just an audio guy!
Fascinating and, like Nick Humphrey's books, presented with style and humour. I really would like to know the time and location of this lecture.