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Audio: Equipment and Workflow

chip thinks that audio is very important. Of course, soda. We This leads us to where our problems lie and our problems lie in what we call the sweet spot. And we got ourselves a problem. Grab us. Fuzzy Mike. Fuzzy Mike. Fourth out. Fuzzy Mike. 4000. All right, let's say you've got to be ableto shoot. Somebody photograph somebody where you're gonna want toe be able to get some good, good quality sound. Let's say we're following Chip on on the location where he wants to talk about it. Let's do a location where he's gonna be in a, let's say, a bar that's now closed. But a bar that he said This is where it all started. This is the first building that I ever sold and whatever it or whatever. And now I happen to own right, and you're thinking, OK, I need to get just a little bit audio, but I need to get some really good looking video. We got a couple options, don't we? Sure. First option we've got is you know what, Chip? We're gonna pretend you're chip. I'm chip. Not nearly as good looking. ...

Okay, So if I was closed by enough, right? And I was close to buy enough here. I can shoot here. Now. I've got pretty decent full frame, you know, had headshot here. All right, I'm fine. Well, if I walk over this way all of a sudden, I decided one a little whiter shot. I could zoom in there, and I'm getting a pretty decent picture here, but I just ran out of audio frame. Can you Can you hear me? Yeah, I know. Now, no matter what's gonna happen, I'm gonna have a problem with my audio. And the audio is going to be not because you can't turn it up enough. I certainly can. I can certainly go inside to the audio here, and I can crank it up. Or if I had, ah, say, can you go grab me one of the power adapters? Mixers? Yeah. You know, this mixer will actually add power and it'll extend. Oh, yeah. It'll extend no problem here. I can. I can screw this onto the bottom here. And I could I can shoot with this, plug the microphone into there, and then this is going to go back into here Now, all of a sudden, I can I can get the volume of high in? Uh, yeah, but what happens? The dynamic changes now I'm picking up more room space. Sure, that microphone is a shotgun microphone, and it's designed to be able to pick up. Sure, just a short little tube of, but they really don't. They've got maybe between a seven degrees and maybe a 20 degree pickup ratio. But then there's another problem. Two guys sound reflects. Now that directional microphone, you think? Well, wait a second. He's talking to me. That's the only that's only sound. I'm going to get right, although it's not. No, it's not. Stay right there. Stay right here. Any any sort of speech or sound or traffic, for instance. That's back that way, is gonna bounce off of this wall, and it's gonna come right back through here. And I'm gonna pick it back up as sound reflection and it's gonna be distorted. All right. How do we solve it? Well, a couple of ways. If you don't have any other microphones situation, you're gonna solve it, Elektronik Lee. But that means postproduction. I hate postproduction. We want to avoid it the best. There are plenty of tools that allow you to do this. There's one really cool one called Audacity. Audacity. It's known throughout the audio industry as they're a pair tool that repair tools, right? Also, some of the apple tools do a pretty darn good job of it. Uh, I movie does previous and job, but did you know that if you're using final cut Pro as your video editing tool, it has some really fine audio prepare tools inside there too. And one of them is called background noise. And it has, uh, has a slider that makes it cut off. It starts to sound a little digital, a little choppy. Okay, Okay. Yeah, it works. OK. Question, sir, about the audio repair truth one. That is this something that you would do before you send it to or before you loaded into my e card, right? Okay, that's right. Great question, by the way to this is right. This is where we're shooting the source files, bought the audio and video. And then when we got them finalized, when we were happy with them and we upload them toe to hybrid lab dot pro to get them finished. Terrific. But if we're gonna send in jump. We're gonna get back, John. Now, with that said, you're gonna get a call to say you did. Send that into hybrid pro Khyber lab. That pro you're gonna your call from Dan Foster. He's gonna He's gonna say, Hey, did you hear the audio on that shop that you did that guy named Chip and you go? Yeah, I thought it sounded fine. He goes, What? You listen to it on. So I just played it off the back of the camera. Said, Well, did you have headphones ago? No. Well, you have a problem with that is really how bad is it? May go. Well, it's not usable. And you're gonna say, Can you save it? He says, Who can? But it's gonna be a little chunky. Let me try it for you. I'll send it back to you and you take a look and see, Then you decide yes or no? If you want to go if you want to do it, here's what I've learned. You may have some of the best looking pieces of audio that there is pieces of video that there is and photo that there is. And if you got lousy sound. You got nothing. Nothing. Nothing to sell, absolutely nothing to sell. How else are we going to solve this problem? Can I have fuzzy make 4000? Please See Mike 4000. Here we go. There is another way to solve this. Yep. This microphone can come off even though this is not one of my favorite solutions. This'll microphone can be plugged into this port. Here you go, then. Now that's a stereo input. You can then mount this on a light stand. Fits very well on a light stand. You could get it out of a shop, right? And then I couldn't take the camera and I could shoot back here. But then I got that microphone closer. Why? This microphone has a sweet spot. Meaning there is a spot in which it wants to be no closer in a spot that it wants to be no further way. Now, By the way, those of you that aren't familiar with these little crazy, fuzzy things this is the so referred to is a dead cat, right? That's really the name. This microphone is a brilliant design, particularly for the price, because I know we're going to get questions, buddy. This is the, uh, the loo Mix the new version of the loo mix. Mike is called the D M W M s two. Now, this is not the one that came out when your camera came round. There is a smaller version spot half this size that come out. That was for the loo mix G H two. And do you have a chance? Okay. Way have it. It's horrible. So if you'd like one, you could have good luck. One of the things I do like about this is it does have a directional microphone piece on it and look what it's got. It's got a second. Microphones got on audio. Or can I put this? You guys get a good pick up this. Put on the table, buddy. I can hold it. Thank you. Yeah, OK. Well, it's got the ability for you to switch in your camera, So if you're using that on a loom x GH three, you can switch. Do you just want it to be the shotgun part, or do you want it to be the shotgun plus the omni directional? Now it doesn't give you the option on how to balance between the two of those, which is okay. It doesn't allow you to just use the omni directional, which is just okay. Basically, it's either 95% shotgun, mike, and then the other 5% we're not quite sure what it is or it's 80% shotgun, Mike. 20% omni Directional mike. That's the way it is. Okay, now, when you use this in the sweet spot, what is the sweet spot? All right, Assuming you're not right in front of the person right now, much, it looks straight towards that. Cameras straight into the camera. All right, if this microphone is this close, let's just say and you're talking, you just go ahead and talk, talk, talk, talking Because they're talking. All right. When we have what we call PLO sieves write letters that have a lot of wind behind them. Like the letter p and T. What are you talking about? Well, there's a chugga air that comes forward and that's going to disturb that little pickup. Well, that's gonna cause a big problem. As you know, with your audio recording. Well, one of the things that a dead cat does is it helps you with your plus ifs. So even though most people think this is just for wind, this in fact helped a lot for Close is so we don't have preposterous. It's just not good. Does that do all kind of shocking? Mike? Seven. Is it? Is it the same for all? Shocking. Like it, really? It really kind of is the same. It is the same. One of the things that we did learn from some some folks is that a soon as you get a chance to get off angle, you do. So there's two things that we want to think of it. Here's the two tips that I'm getting to in this entire this entire segment here and that. Is that Well, thank you very much. You know what? I'd rather use that if you don't. Here is a mid priced, uh, with this Sennheiser microphones. It does take a battery in there that keeps it life. Of course, it is going to need to run off a mixer. Mixers use what's called his phantom power. I believe it's 45 volts phantom power, which is what this is going to need to run electricity in order to actually pick up. Now, How do we get rid off PLO sieves when we're going to use a microphone like this? Well, you noticed when I had buying set up over there that I didn't have it on the camera, did I? One of the big mistakes that photographers make when they're gonna start shooting hybrid is that they run out and they buy themselves, You know, a $300 Sennheiser microphones. Beyond this, this is great. Figure out how to mounted on top of my camera. Well, you're in the sweet spot now. This is great, I guess. What? You're still going to get the PLO sieves that pick up. Plus, this is a much more sensitive microphone. This means you've got that flat wall behind you. There's a lot of sound that's going to be reflected off that flat wall. In fact, did you hold this right like right there. But it's going Okay, let's say that someone is back here and they're talking at a normal rate. Let's say we're in a public spot, but we're still trying to get something going on and say, There's a person talking like this way sideways. You still, believe it or not, you still have sound that's bouncing off that wall, and it's gonna go back into that microphone. All right, that's a problem. How we gonna fix that? If you notice most professional audio people fix that by changing the angle, they change the angle. Why? A gets this out of the line of sight be it's out of the camera shot. See if the person does have PLO sieves those PLO sieves air coming out this way and they're not gonna hit here. But more importantly, it's now not getting any sound that's bouncing off the bottom of the corner of that wall. Sound reflection. Isn't it funny? Now that you learn all the tough stuff about audio, it makes photo look easy. So that's the hard part when it comes to audio. So one of the things that I like about now that we're moving to led is that Thanks. So you could get that back when we moved to led. We now have the ability to work under lights that don't have any sun. Go ahead before you can. I think you are about to go past the microphones. Yeah, Now, how is it Is that what you have both microphones connected to Or either one of the microphone is connected to the camera itself. So that the All right, So the audio and video all sink double, or you're gonna have to go in post preproduction toe coming together and then send it off. Yeah, that's a great question. And there are. There are pros and kinds of either way. And let's go over those. What you're talking about is you're talking about first recording internally versus recording externally. When we record internally, we're dropping the audio into the camera itself to record it. Now. One of the things that I am always scared to death about when I shoot the Canon five D Mark two or, in fact, are Last Night con with a Nikon D 800 is that internal audio recording. There was a little troublesome. I didn't I didn't get it, I didn't get along with it, and the reason was that I couldn't quite tell what it had for microphone levels. Were those really levels that you set them and that they didn't have any automatic? Or did they have some sort of automatic? Well, they kind of have a little bit of both. So do these, by the way, but it made it very difficult to predict. So when we were shooting DSL ours, for the most part, we're using external audio recorders. Now if we're in the studio Excuse me. The best way to record external audio is right into a Mac. We love Macintoshes. We will use Garage Man and typically an external hard drive that will allow us to record no problem. If not, we're going to use a portable audio recorder called a brand that we like is called pass camp T A S C A m. On reason. We like it. If it breaks, send it out. They fix it, they don't kill you. Think about it. And if they are to break to durably operating pretty hard to break you. But they're dirt cheap. I don't have to buy this. Even spending 300 bucks. We get shipped. Great looking one. So you'll notice that when we start setting up here to start shooting real portrait's that we're going to have a main light that's gonna have its own diffuser on it, right? The light smarter. And it's gonna have a couple of options for mounting different types of microphones. So let's say budget wise that all you had budget for was this little microphone. Now, this microphone is a great idea. You're shooting GH three and you want to do event coverage. You want to do your sports coverage and you're shooting in a gymnasium or you're shooting like in a locker room. You put this together here, you've got this has got the ability to adjust this back and four left and right. Excuse me. Left and right. This is nice stuff, man. That's good. Cheap to that's not bad. 50. I believe it's in that ballpark to All right. This is a really good solid, too, All right, What happens when you want to start doing talking? Portrait's where you want to get into the studio where you're gonna take this thing off. It comes with an extension cord. If you want to, you're gonna run it on over there. But you're going to realize riel, click that you're gonna need, have some sort of mix, or you're gonna have to amplify that power. Now, here's one more ugly thing. We gotta talk about that. We don't like talking about, but we still gotta talk. Equalizers. Equalizers are the last piece that we need to deal with audio to eliminate postproduction. Remember, our goal is that we want to be able to buy and use and set up tools so that we don't have toe have any post production required it all with audio. That's really tough. Buying an auto leveler, for instance, will solve a lot of problems, but they're not. They're not a location type of device. Here's one of the other things that I have. It's a little bit of a criticism, in fact, is when we fire up ahlu mix Jake three or a Fuji camera if you want to. Either way, you're gonna get an audio menu, and that audio menu is going to be your input level, right? Okay, well, you're told in the manual for the loo mix Jake's three that that's going to be manual, that there's no automatic gain control whatsoever. Well, that's not quite true. There's a little bit there. However, it doesn't really cause that much trouble. It does cause a little bit of trouble when you're talking about the fact. Remember, we talked about automatic gain control. Remember, this is just for sound is also on the mixer. I I know this stuff's pretty heavy. We're gonna get through this in a second here. All right? We're almost done, right? We want to be able to buy equipment that will snap stuff together and will allow us allow us to fix whatever the heck we need to fix. So here, we're gonna do. We're gonna put an extension court on this. It comes with an extension cord. We're gonna move this off to the side when we record, and then we're going to go ahead and shoot our shot a chip. So let's say, for instance, we're gonna light. We're gonna light from the left side and say, this is the spot that chip's gonna be in. We're gonna make sure now that we attach that microphone is close to as we can to the front of that too, Chip. Now it's else that means that means that Would you mind just grabbing the silk from that? Yeah, Yeah. Don't Don't bring home. Just just grab the silk from that. Well, because those led is now are silent, right? Silent. We don't have fans on them anymore, Some of them some of the old models used to. And then I wouldn't buy right because they had fans in those fans. Make way too much noise. There's no way that I can put a microphone in there. That's a sand. All right, here's myself. Grab that. If you would, please writing. All right, let's say the lights over on this side that reached behind. I'm gonna point that at a point that it yourself, like you're gonna do it or you're doesn't matter. The only thing that matters is if, if it's touching on this and you get any bit of that, does this microphone care that it's behind this piece of silk? Not the slightest buddy, not in the slightest. And you know what else that does that keeps people from getting freaked out? Because a lot of people, even real estate agents and what comes? The little kids, they see a camera. That's one thing. Do they see a microphone and understand a microphone that some of the best big problem fuji with food? You microphone, if you would, please, then you're gonna have to figure out what you want to use for a mixer because you're gonna need to have whatever sort of mix that you want to use. Um, there are a couple of really nice brands of mixers that are also pre amps. You mean you can get a deep into this as you can in a photography, but we don't want to. We want to go simple. Unfortunately, none of this stuff is really that inexpensive. You're gonna have to buy it. You're gonna have to buy, right? So here's what I want to do. I want to go and I want to have a set of microphones. I wish there was only one microphone that was going to do the job, but there's not. When we shot the piece of Chip, for instance, we could have easily put a Laval air on Chip. That wouldn't have been a problem with him whatsoever. But we did have a bunch of people that we had to shoot. What's the problem with using alive a layer style microphone? When I have 15 people, I have to shoot, Put it on, take it off? Yeah. Yeah, And then when it's one of the girls, the girls have to go into the ladies room take it off, right. Put it back on then. What happens when the one guy who's in a big hurry forget to take the microphone? So now you just lost a microphone. You did You get that back today? Good luck, right? It is all. Bring it back in a couple of days. Couple days turns into a couple of months, right? Not gonna happen. So what you're gonna need to do is you're going to need to choose a microphone that fits on whatever you want to. Now there are aftermarket brands and there are brands that air for your camera. Personally, I think that this microphone for the Panasonic works very well. I also think that the aftermarket brand from Panasonic Yep, is also going to be Ah, good, good one. A good choice. I'm also thinking that Sennheiser makes their own brand. Makes that call an M k e microphone that slides on their works. Very nice is a brand called roadie. That's really terrific. That also is terrific. And it's it's really difficult to beat the Sennheiser when it comes to the boom stuff. It's funny. See, it seems like it always goes back to the same circle. You know what your budget is? Know what you can buy? No. The limitations of your year. You know where your range is. Where is the sweet spot? Whether it's, you know, $1000 shotgun, Mike, where this little one that she just happened to find on E Bay or whatever you go. You know your gear? No. The range that we went against situations. You know how to respond. Yeah, that's right. Okay. Bad news. Bad news is let's see. Yeah, you have this microphone put on top of here, right? And you're on the run, or you know how I like to use that breaks the hold fast breaks, right? That means that camera is going to be around here. And if I'm really shooting this way, this has taken a lot of bang in. This is gonna break, guys. And unfortunately, when this this breaks, it doesn't break the microphone. It breaks the camera, right? It breaks the shoe, done it in. Their weight is right. It breaks. That breaks that are Well, way don't have the little food. You microphone handy. All right. Somewhere around here is a little fuji candy microphone. Fuji makes a little microphone that goes on to their cameras there, too, and it has a rubber mount, so it slides on the top of here. The quality is very good. It needs no battery. It plugs right into the side, and you can whack it all you want to. It doesn't get busted up because it's on a rubber mount. That's delicious, right? That's delicious. Now, the ultimate microphone, depending on your pipes, is the lollypop style microphones. So if you're going to be doing some big E product, if you're shooting real video work right now, you're getting into territories where you're using microphones like these, right? This is going to be a full spectrum microphone. This one happens to match my my tone ality. This is going to need to have a mix. Are actually uses a much bigger mixer. But I'll hold this back up here when, when you want to really record the super high end voice or instrument, then you need to work with a microphone that's more like this. So there are 34 different kinds of microphones that would that we deal with This is your the least of your worries. This is the upper end of the microphone that we were. The only thing we really use this for is just for me, right? Yeah. You're the only guy that I know. Yeah, but we have to use one of any machinery. No, no, no. Wait a minute. Didn't we use this on a machine? Something somewhere. I believe somewhere we did way had to record a machine that had a really funny sound, so we had to use that. Okay, so put that back in the box where it belongs. Second microphone is going to be the microphone that's built into your camera. Most of those just scrap. The only thing you use those four is for sinking up later. Next, the other microphones you may end up using are the ones that are actually in their own portable recording devices. And I apologize for not having we don't have a task in a way. Do not Okay. The task M audio recorders. A lot of times have microphones on them, and they do a very good job. Okay, now, when we talk about sinking audio back up to video, it's a tough thing to do. There are applications that claim that it makes it a lot easier to Dio. I've seen people do it. I just don't quite understand how they think it's easy because I don't think all right, if you're gonna have ah camera, that's going to be able to record lousy audio, at least you know you've got audio that's in seek with someone's voice. You can see that as a pattern right then, when you do have a good quality microphone that's un another track, or even if it's on your your own camera to you can see it, you can match it up, put it together. It's going to be great. You're gonna export it back out as one. It's gonna be beautiful. Last topic. When we're talking about using something like this, and if you go to the photo channel that pro you will find a video. What's the one that talks about this? Why you're gonna go? Miral is before you think there's a video called Why Will Be Shooting mirror list sooner than you think. It will use a piece like this that will have one of the shotgun microphone says the input here and one of the other sides will be a lot of hair style microphone and you'll be able to blend the two because the shotgun will allow you to get a group of people as well as some sort of sound in the Laval Air is going to get one crisp, clear sound so that that that some next level stuff councils out. Sure, this is a question from Jane has really been giving us some great stuff. Great. Well showed us an audio mixer earlier. Yeah, is the purpose of that device intended to improve the sound going into the cameras, part of the pre processing of the hybrid photo shoot? Or just for the convenience of the types of connectors? A. Okay, was it James James James J. J. We love Jane. That's a great question. Okay, that question has two answers. The first part is, we do want to improve the quality of the audio, and here's one way to do that. Let's say that Jane is using a Nikon D 800 and a Nikon D 800 is a fabulous camera, and it's recording ability is a little lacking. One of the things that this mixer has is not e que it doesn't change the tone of voice, right? Not at all. This will allow us to have the auto gain control, so this will allow us to gently change the level the loudness, if you will. Because you know what happens when you record audio and it's too loud. It becomes distorted, right? And if audio is recorded and it's too low and you have to turn it up, it gets kind of crazy. We didn't touch a little bit on equalized a little bit. Let's go back to that. Some mixers do have equalizer controls in there to this one does not, and when an equalizer does, it allows you to change the actual pitch the spell, not run the pitch, the sound if you have lower portions of your voice that you wanted to increase so they make those sound a little bigger, or in fact, because your microphone is really weak in some of those areas, equalizer balance Those back out. So the ultimate the ultimate way to go would be to have a mixer that has an EQ a really equalizer that's built into their which would be wonderful, but in fact they really don't. So we want pre process. As Jane says, we want to be able to have our audio, go into that camera and not need any repair. Which, going back the GH three apologize for something like a GH three commercial. Any other camera that has the ability to put headphones on. And while you're shooting here, the audio as it's already been recorded from the car that it's literally playing the audio off the card. So you hear even a little delay. You hear what's really been recorded? That is, That's a game changer. That's a game changer right there. It saved me a lot of times when I almost said, You think you're listening to the right audio and then you realize, Wow, you know what? Something's off here. Yeah, yeah, Jane, Great question. Thank you. James. Been active and has some more questions in here is a letter J. You're not chat rooms, everyone. Remember, that's where you can come join us and ask your questions. Will and Louis in the segment as well. We have a question from Spike. If you guys have any experience with the zoom h two or h. Great question. Yeah, zooms are wonderful. External audio recorders. They have some great microphones built into them. It does require this step in a lot of people. They just overlook it. If they're going to shoot DSLR, they know that they're not going to be able to put audio in back to their camera because it's too hard. And you know what? I think I agree with him. I think if I was going to be shooting DSLR hybrid, even though they do have an input port, I would probably go with an external recorder in order to do that. And the zooms, because of their low cost and their small size, would probably be my first choice. We're using the task Kammen and have mentioned the task, and only because we had them for decades and we just continue were one of those people that I don't know you guys that way to. When you get a brand that you're happy with, you just keep buying them until the one day you decide that there's no there's a reason not to buy him again. Yeah, so yes. Zoom super double thumbs up from us. Yeah, well, can we talk a little bit about your your work? flow. When it comes to sinking audio, you're Yeah, let's do that. Let's say we have to sync audio. There will. There will be times where we're gonna have to record two things at once. Say that we need to have the voice recorded right in an industrial environment and then say there is a machine somewhere there that is making a Siris of sounds that's important to whatever we're trying to do, right. We do a lot of work for Tootsie Roll. Good friends Tootsie Roll in Chicago. Friends very confront. That's why I looked away. If you've never if you've ever had the ability to have a warm Tootsie Roll right off the machine like is good Big Miss Gordon. Well, there's a part of the process of the way that they wrap their machines. Is there's the sound of the paper right? The Tootsie Roll has a waxed paper. It's a beautiful piece of paper. Well, when when the it's called the Miggy, that's the little Tootsie roll. Then when the midget comes around, it gets cut. It goes under this little rotation of a machine, and it ends up being rolled and you get to hear it. And off you go on. Off you go. All right. Well, this is Gordon wants to be able to talk while she's near the MIDI machine. But then she wants to talk about the process and then show she wants to talk over, Say how it's actually being wrapped. There you go. Now we're gonna have to sink to audio together. So in that case, we get into heavy duty editing. In fact, I bring in and I bring it at their once we get to that point. What we do is we do multiple tracks, right? We got stereo, which is our left, left and right. That's our first track. Our second tracks also going to be stereo there, too, so Mrs Gordon is going to be recorded in stereo, just her voice. Then whatever is going to be recorded, whatever she's talking about is going to be recorded with a Zoomer with a task and with wherever. That's going to be a second set of tracks. Now, when we have to sync all that together because you got to remember, even though that we're trying to record the sound of the paper being recorded, you're still going to hear a little bit of Mrs Borden. That means it all has to be seek together. There is, in the world, a final cut pro. There is a tool called floral eyes. One word. Plural eyes. In fact, you could have a smaller version called Dual. I said something you use know anybody here, By the way, used plural ized. Do allies it all upstairs? Nobody, No. Okay, I found that it does work. It does need to have one track to base on. So it's one of those things that you've got to be able to record one camera that records everything so it hears the voice. So it's got something to key onto. It does. Cheon infected does do a very good job. I think it acts as a plug in. I think it's a stand alone. I think that acts is a plug in for final cut pro. Beyond that, I don't have any other tools. One of those things. It was like 139 bucks. I bought it. It were, I figured out problem solved, so I so I stopped looking for something else. So I hope for our person there hope that's a good solution for them to, you know, to if they find a better solution or particularly one that's less expensive. You know what? If I'm easy guys find, please find me and let me know, right? Yeah, you're welcome. So we actually we also asked folks in the chat rooms what their biggest audio issues were. Yeah, just like you would ask our studio audience members. So maybe we can address some of those, um, and list 3 27 had said multi Mike setups, getting them both to sound good at the same level. Same level one like, Yeah. Yeah. There's one more tool when we talk about this is being a mixer. In fact, it really is. And a mixers job is to take a and input or a couple inputs and allow you with a knob or a slider, some sort of control to a just how loud or how soft it's going to be. So this one here actually has the ability to bring in a bunch, Really? In fact, I could bring in a pair of mon owes so I could bring in two of those those XLR style stick Mike's. I couldn't bring in one of the small microphones. The one inference yet Laval Ear and I can also bring in one of the RC A so I could bring in three different Mike's into this into this piece, which is terrific. And then I cannot put in stereo. Or I can output into mono rape when we're working at, say, for instance, the studio. When you see some of those long posts think we showed earlier today about me talking about what is high one is une product. You'll see that great big Bluebird Mike. It's right in the front, right? That's going to be connected down to a pre amp that last I was in the audio room here. Did you see the audio here? Beautiful. And you know that Grand Prix Sonus that they have That's like, expensive. Oh, yeah, you know that place? Oh yeah, You know that two bands that I've got to pre band that I've got in there. I use ah, pre amp for my voice that runs often old vacuum tube. It's a brand called priests own. It's wonderful stuff. Well, then it goes to a mixer. Well, that mixer has the ability to have eight different microphones that drop into it. We've never used more than four. Don't think in any. Yeah, so unfortunate. I wish I had more information for her than that. But when it comes to those kind of things, I'm lucky that I mean, I'm in Chicago, and to be honest with you, I'm lucky that I'm Will Crockett. And it's really easy for me to say. Hey, guys, Will Crockett would love to have somebody come help him out with a menacing job Who was about audio on it. May I get some really cool person that comes in and helps? All right. Okay, so maybe you could give Jane a hand. Sure. Um, wanted to hear what's your address? Let's go. Needing a little help with getting audio That doesn't sound hollow, distant or echoey. Yeah, Yeah, she's out of her sweet spot. Yeah. You need to find out what that sweet spot is gonna be. And we found out what was the last one we just defined. It was the was the Sennheiser, right? All right. We just decided that they'll Sennheiser microphones have a sweet spot of three feet, is the closest they want to be and six feet is the furthest they wanna be. And any time we violate that, we end up running into will know about it. Yeah, problem after problem. Who also to one of the other things that we did notice that when we're working in the studio, let's say that we're working in a corner like this. Well, this isn't This is a 45 degree angle corner, but let's say that this wall over here actually had a hard 45 degree corner. All right, we would want to put the microphone. The main light is gonna be over here. Say we're gonna be photographing Louis. We want the main light over here, and then we're gonna put that microphone. If it's going to be low, that's finally probably rather have a high on this one. That's one of the things that the light smarter does for us. It allows us to put that light up higher. If you want to to you know why Sound reflection. There's no a sound that we have to worry about that's gonna bounce down this way. If we have to worry about it, we will put carpet on the floor. We can always put some look some sort of carpet on the wall if we have to, but we don't even find out that we have to. If you just go into a wall cornered wall and you've got a microphone that's right over here. And then he's talking this way right talking over to this camera. That microphone is picking it up perfectly as long as it's in that sweet spot no closer than three feet further away than six feet away. Five feet is probably better. And then any sort of reflection that's coming off of there don't have to worry about. Our site is our sound. It's clean and tight. Last question for you Wrap it up. Yep, let's do it. So I've got one, which is a game again from, um sorry from Big Jimmy. I use Audio Technica 6550 Wired Mike's in. Dealing with my cable's is the biggest hassle. All those cables, you know, I wish I could help with you. I don't use audio Technica Audio Technica is a good good brand. Anybody know local? Got any? No, I wish I could answer you by any cable issues in your in your studio? Not really. No, no, not really. Were were we got. And we want to get rid of as many cables as we possibly can. Exactly a lot of times. What we do is a lot like your guys do is I noticed that they want to put your cables together in one piece. We will use Ah, zip ties, of course. But we've also got these ones that we got from Home Depot that are kind of foam covered wire that you can use to wrap around things. And when you're done, you could just unwrap them. And off you go. Plus, I'm a tape, everything down kind of guy to because I trip a whole lot there to state that would be great to be able to get rid of all wires for everything. Why can't we have wireless electricity, huh? You want I don't know. Like I don't get it