Thank you everyone who assisted in my first post!
http://taperssection.com/index.php?topic=130746.0
I ended up picking up a Sony PCM M10, and CA-14s (cards and omnis w/clips) and battery box.
Congratulations. You'll thoroughly enjoy this rig.
I have a lot of questions in preparation for taping in New Orleans next week! Obviously I will be recording a lot of jazz/blues. Please respond as if this were a hypothetical stealth taping situation. Please PM me if any of you feel certain topics should not be discussed.
**Yes, I have read the manual and have briefly skimmed through the forums. I would greatly appreciate insight from those with experience**
There have been debates for years now and some people assume ALL stealth should never be discussed. The bottom line that many/most agree on is that stealth discussion doesn't need to be hidden because there are many legitimate uses of stealth techniques. With that said...I'll proceed to your questions...
1) Regarding recording mode: I can record up to LCPM 96/24. However, what is typically recommended for quality, yet space efficiency?
24/48 is what most use. Most people can't hear the difference between 24/48 and 24/96 except perhaps in the perfection of the studio environment. Live recording isn't perfection, so save the space on your flash card and go with 24/48.
2) I understand that tapers use the hold button to lock their settings during the sound check. However, I don't think the recording level can be locked in place? That seems be a weakness with the PCM M10? What do I gain by using the hold button?
I've never relied on a hold button, so I wouldn't consider it much of a weakness of of the M10 personally. Yeah, it might be nice to have, but I personally wouldn't miss it.
The main thing tapers want in a hold button is so nothing gets changed if the deck gets bumped or tripped over during the show. However, most tapers like to tweek their levels as the show goes on because the soundguy will usually start the show soft but then as the night goes on the volume gets louder and louder. So, as the level creeps up, some people might like to back our levels down to compensate.
Personally, I'm a set it and forget it guy, so that's why I don't use the hold button.
EDIT TO ADD: One thing that you will learn the hard way is that the more you goof around with your gear during a show, the more likely you are to mess something up. Try to avoid the temptation of checking your levels every 5 minutes because you just don't need to. Believe me, the more you put your hands on your gear, the higher the chances you'll screw your recording up.
I've recorded enough that, with the exception of checking now and then to make sure I still have battery power to everything, I set it and forget it.
3) Regarding setting recording level: My limited understanding is that I want to keep volume levels under -12 db to avoid distortion. I've read it is best to manually set the recording level. I've read that it is best to keep recording levels low then boost if needed when editing. As a new taper, I want to keep things as simple and idiot proof as possible. Questions:
To avoid peaking, you want to keep your levels below 0db (not -12db). If you go above 0db, you might get some clipping/distortion. However, it makes no sense to run your levels up so that you have only a tiny amount of headroom because whenever there's a loud passage during the show, suddenly you will be peaking. So, to compensate for that, keep your levels down around -12db and that way you'll never have to worry during the show about peaking because a show RARELY increases volume so much that you'd be peaking if you start at -12db.
Since you're recording in 24bit, you can then use your computer program in post to adjust the levels up to closer to 0db for optimum listening conditions.
In the old days of 16bit (or if you ever for some reason decide to record at 16bit instead of 24...which I'd NEVER do) the above logic does not hold because if you record at -12db, you might lose some 'hotness' of the show. Lots of people got better sound out of their gear when they pushed closer to 0db...but that was 16bit and that is a concern of the past and no longer true...as long as you don't record in 16bit.
a) Why not use the limiter function to avoid distortion?
Because when the limiter kicks in, you usually will hear the dynamics of the recording change audibly. Some limiters are better than others, but the bad limiters will literally destroy a recording. The good ones are fairly transparent. However, if you're running at -12db with plenty of headroom, then it's a non-issue because you'd never have to worry about going over, so you never would have a situation where the limiter kicked in, regardless of whether the limiter is engaged or not. Since I always run with TONS of headroom, I don't worry about the position of the limiter...I could care less if it is on because it will never kick in anyway.
b) Why not use the auto recording level mode?
For the same basic reason as some people avoid using the limiter. For me personally, ALC is MUCH worse feature to engage than the limiter. ALC can falsely change your levels during the show and add some dynamics to the sound that, in some cases, may be disastrous to your recording. It all depends on how well and how transparent your specific product implements this feature. However, best to avoid it altogether because, if you leave enough headroom with running at -12db and adjust up in post, then it's a moot point. This is the logic that 99.999% of tapers use.
Consider the times when a band might go very very low volume for the sake of emotion and effect. If you have auto level on, at that point the deck might automatically adjust your levels so they're raised up to compensate for the low volume. It defeats the purpose that the band had when they added that low volume passage to the music.
Why destroy the dynamics of the show by engaging ALC and having every sound peak at the same volume level during a show? Even if your recorder does ALC perfectly, to me that would cause your recording to be BOOOORRRRRING!
c) Do I need to tape the recording level knob to set the recording level in place (if manually setting the recording level)?
I can't really answer this question, since I've never used the D10.
d) Should the mic sensitivity be set to high or low?
99.9% of the decks I've ever used, the mic sens is set to low for live music recording. You'd set it to high if you wanted to use the mics for recording...say...a lecture or perhaps chamber music.
e) Should the low cut filter be on or off?
This depends on whether the music in the venue is really really bass heavy. Most people say to NEVER use the low cut filter because you can always adjust the bass using EQ in post. On the other hand, if a show is soooo bass heavy that the bass predominates, I'd consider using this filter to your advantage.
Experience will dictate for you when to use this, but in general starting out, I'd say to leave it off.
4) Regarding mics:
a) How do you recommend mounting the mics for taping in a hypothetical stealth situation? The CA-14s are rather large and when I trialed placing the mics under a jacket, any movement/rubbing along the windscreen surface was very obvious.
Hmmm...I'll leave this for others, although searching the web for 'kangol ventair' should give you an idea.
b) How do clients carry the battery box and the recorder? I'm primarily concerned about cables disconnecting/pulling out with movement. Seems like the 9V batter can easily detach from the clip in point (I guess I expected a "box").
Tape the cable connector down after connection if you're worried about them pulling out. Cable extensions, right angle connectors and having lots of slack can be useful to achieving your goal too. Regarding cable concealment, velcro and hoodies.
c) Per Chris Church: The line input for the battery box for loud shows. The mic input for quiet shows. The plug in power should be always off.
Agree...although I never use mic in.
d) My understanding is that cards are more for arena/high crowd environments and omnis for a more rounder sound and for quieter environments. Any comments on when to use which mic?
Coincidentally, I just discussed this question in another post yesterday...
http://taperssection.com/index.php?topic=131749.msg1731263#msg1731263The internal mics as posted in the forum are actually very good. The problem is that the sound quality is markedly decreased if the recorder is in a pocket. My biggest concern is how to mount the CA-14s for what I want to do.
In general, the higher up the better...thus hat mounts tend to be good...but some people swear by shirt collar mounting.
5) Any other insight on how to "wear" the recording equipment. I've ready Zamana's post/question already, but would appreciate any other opinion from the experienced tapers.
Any opinions/advice would be GREATLY appreciated. Please PM any info you feel should not be posted on this forum.
There really has been a TON of public discussion on this subject...and it comes up over and over. I think if you're diligent, you'll find the answers you're looking for about this part of your post.
Topic: New Taper: Part II: Set up for taping (Read 8581 times)