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maarvold

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Posts: 3,143 Member Since: 23/01/2011

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Feb 16 17 11:18 PM

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I am getting really kind of bugged about how many 'P' Pops I am hearing with some of President Trump's segments on CNN & presumably elsewhere.  They aren't the super low frequency pops like you can get with a condenser mic, but they are forceful enough and deep enough that it sometimes sounds like he, or other speakers at his events, are hitting or kicking the podium as often as every 4-5 seconds.  It is VERY distracting.  

Last Edited By: maarvold Feb 16 17 11:20 PM. Edited 1 time

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gtoledo3

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Posts: 4,170 Member Since:23/10/2013

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Feb 16 17 11:30 PM

Apparently the two 57 approach has been abandoned, because he wishes to work the mic for dramatic effect. He also thinks that having mics far away from his mouth is unreliable because of a few instances at debates and at his rallies.

Summarizing what I've read about it.

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gtoledo3

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Posts: 4,170 Member Since:23/10/2013

#4 [url]

Feb 17 17 12:01 PM

To swing it to a general, related point about audio...

I often think that some production assistant should be tasked with telling talent at awards shows (and similar) that they don't have to bend down and eat the mic, and that it's possible to just keep standing straight up.

It's so often people who should have the experience to *know* that they don't have to bend down and eat the mic. Pet peeve!

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maarvold

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Posts: 3,143 Member Since:23/01/2011

#6 [url]

Feb 17 17 1:47 PM

gtoledo3 wrote:
To swing it to a general, related point about audio...

I often think that some production assistant should be tasked with telling talent at awards shows (and similar) that they don't have to bend down and eat the mic, and that it's possible to just keep standing straight up.

It's so often people who should have the experience to *know* that they don't have to bend down and eat the mic. Pet peeve!

 
I often like to mic vocals from a bit above and a bit in front of the singer, which allows me to not have to use a pop filter (a big sonic plus imo); I might get a half dozen or so pops, which I can always fix pretty easily.  I tell the singers to, "sing to all your fans out there" or "sing to us in the control room" or some other such thing.  

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jsull

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Posts: 34 Member Since:23/02/2011

#7 [url]

Feb 17 17 4:59 PM

gtoledo3 wrote:
To swing it to a general, related point about audio...

I often think that some production assistant should be tasked with telling talent at awards shows (and similar) that they don't have to bend down and eat the mic, and that it's possible to just keep standing straight up.

It's so often people who should have the experience to *know* that they don't have to bend down and eat the mic. Pet peeve!

I work in radio, and, believe me, you can tell people that as many times as you want.  We always tell guests to get comfortable, span their hand out, and stay about that distance from the mic, it'll sound great.  2 minutes later they're Bono.  

Totally with you on the people who should know better.  Drives me nuts.

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jesse decarlo

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Posts: 1,537 Member Since:24/03/2013

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Feb 17 17 7:33 PM

gtoledo3 wrote:
To swing it to a general, related point about audio...

I often think that some production assistant should be tasked with telling talent at awards shows (and similar) that they don't have to bend down and eat the mic, and that it's possible to just keep standing straight up.

It's so often people who should have the experience to *know* that they don't have to bend down and eat the mic. Pet peeve!

I run into the opposite problem a lot, with people who are not accustomed to using a microphone. For example, if I'm playing at a wedding and part of my job is to have a wireless mic set up for toasts and all that, people will invariably hold the mic at approximately the level of their navels, making it a real struggle to get any kind of perceptible gain before feedback.

I was playing at another event, a private party at a winery hosted by Alfa Romeo for wealthy auto enthusiasts. They used my PA to do a raffle, and the guests were having a hard time hearing the people speaking because they were all holding the SM58 2 feet from their mouths.  Then Jay Leno, who has had a lot of practice using handheld mics, got up to finish off the event. You can imagine the difference - I had to back off the gain in a hurry.

(Alluding to that other thread - can I now claim to have worked with Leno? Kidding!)
 

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scullyfan

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Posts: 1,612 Member Since:27/07/2011

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Feb 17 17 7:43 PM

I'm starting a new movement, it's called "Make America Shure Again". This is all about keeping press conferences on an even keel without "plosives".

I hope this isn't too political...

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maarvold

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Posts: 3,143 Member Since:23/01/2011

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Feb 18 17 12:26 PM

jaykadis wrote:
The new KSM8 is good with plosives but a pair would be $1k.

 
Absolutely NOT pointing the finger at you Jay, but your post is so emblematic of current thinking.  It's essentially, "But we simply can't afford to do the job the right way".  I don't know if low cost has anything to do with why a 57 w pop filter was chosen... it could also be an equally 'important' reason: because of how it looks.  But what remains is that any truly important sound bites from the current era will require iZotope Plosive Repair (or something similar) before they are ready for a museum or historic archive, as well as the fact that it's difficult to fully concentrate on the message when it is diluted by technical errors.  

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jaykadis

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Posts: 2,430 Member Since:24/01/2011

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Feb 18 17 12:32 PM

maarvold wrote:

jaykadis wrote:
The new KSM8 is good with plosives but a pair would be $1k.

 
Absolutely NOT pointing the finger at you Jay, but your post is so emblematic of current thinking.

That's good because I actually own one. I may buy another.

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weedywet

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Posts: 5,952 Member Since:20/01/2011

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Feb 19 17 2:32 AM

current "thinking" in general is 'don't worry about it, we can fix it later with software' (that might cost more than preventing the problem at the source)

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