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Cantar-X User Manual v2.44 (r14) 2013 March 21
p.45
p.45
The boom and RF mics
The boom, connected to M5, is directly routed to T8 (see
Create T7T8 IN-GRIDS
, p.28). The RF-mics, routed to T1–T6
(auto-panned to the left), go to mix Xa on T7.
Proper Mixing
Mark Weber to Cantar Users’ Group, May 3, 2008
Are you all saying that we should not be mixing just because we
are providing ISO tracks on mono files? As a mixer it is my assump-
tion that my job is to mix so that phase anomalies are not occurring
and mixing out unwanted open mics so that a useful production mix
is always present and if post wants ISO mic tracks then that is what
I deliver on top of the mix.What am I missing here?
Phase interferences are only audible at specific relationships be-
tween pairs of microphones and at a specific balance between
them, usually a 50/50 balance as with boom and radio mic. If
three mics are open, the phase interference is a result of only one
of those mics in reference to the other two. Assuming I am mixing
to a mono track with one boom and one radio and at a certain
point there is phasing, I would be rocking the mix back and forth
favoring either the boom or radio. If the phasing occurs when both
mics are at unity then I never allow unity to occur. As a wired actor
walks into a room and comes forward approaching a boom mic,
I would be favoring the radio until the actor steps into the sweet
spot of the boom at which point I would crossfade, potting down
the radio as I pot up the boom. This does not necessarily mean
that I completely turn off either mic at any time but only prevent the
50/50 balance of the two from occurring, or maybe once the ac-
tor reaches the boom sweet spot and stays there for the rest of the
take then perhaps I slowly fade out the radio mic completely, to
prevent clothing rustle or some other physical noise.
Same thing if mixing two actors on radios with no boom and as
they turn to face each other there is a phasing taking place be-
tween them, then I would be crossfading the balance between
them back and forth favoring the mic of the actor that is speaking,
again never allowing the 50/50 balance to occur but always
keeping both mics open unless some action creates a problem
like someone pounding themselves on the chest where the mic is
placed. Always 60/40 or 75/25 or whatever works. Maybe as
the two actors stand very close to each other one of their mics may
work to cover both of them.
Now if mixing to two tracks and splitting boom away from the ra-
dios then I monitor the split track mix in mono and do all the same
things as mentioned above so that if the two tracks are summed
together by telecine for dailies or elsewhere in post the resulting
mono mix works perfectly.
I hate to allow post the opportunity to screw up my mixes so I
always try not to give them the option. If there is no reason to split
tracks then I do not do it.
Mark Weber C.A.S. / Sound Specialist Inc. Miami, Florida
Mixdown on track one and two
The track renumbring during Idle Bckp backup lets you put
the mixdown on the lower rank filetags, thee examples be-
low
#1
Single-mix on TR1
, select
Input/Xb+
in T7T8 InGrids,
inputs Mic1 Mic2 Lin1 Lin2 Digi1 Mic4 Mic5
/ / / / / / /
tracks T1 T2 T3 T4 T5 T6 T7 T8 > modulo
/ / / / / / / @
sliders #1 #2 #3 #4 #5 #6 /(#7)* /
\ \ \ \ \ \ / /
auto-pan R . \_____\_____\_____\_____\____\___\____>Xb+
. . . . . . . .
renamed . . . . . . . .
filetags _2 _3 _4 _5 _6 _7 _8 _1
Recommended settings for this example:
BACKUP 01 'mode', select
Idle Bckp
BACKUP 03 'Track Select', select
T1_T8 + T8T8
BACKUP 04 'Treatment', select
MonoRotate1
BACKUP 05 'T7T8 treatment', select
Poly Native
You get Monophonics ABC123_N.wav in AAL folders for NLEs.
_1 (Xa) _2 (.) _3 (..) _4 (.) _5 (.) _6 (.) _7 (.) _8 (.) and a
Polyphonic ABC123PX.wav in AAX folders for FOSTEX-824s.
Q: Why this T8T8 duplication?
A: the Director will not complain one of his TV monitor loudspeakers is dead.
#2
Mix & Boom on TR1 TR2
,
select
Xa+/Mic5
in T7T8 InGrids.
inputs Mic1 Mic2 Lin1 Lin2 Digi1 Mic4 Mic5 (boom)
/ / / / / / \
tracks T1 T2 T3 T4 T5 T6 T7 T8 > modulos
/ / / / / / @ /
sliders #1 #2 #3 #4 #5 #6 / /(#8)*
\ \ \ \ \ \ / /
auto-pan L . \____\____\____\____\____\__>Xa+<__/
. . . . . . . .
renamed . . . . . . . .
filetags _3 _4 _5 _6 _7 _8 _1 _2
#3
MixL & MixR on TR1 TR2
, select
Xa/Xb
in T7T8 InGrids.
inputs Mic1 Mic2 Lin1 Lin2 Digi1 Mic4
/ / / / / /
tracks T1 T2 T3 T4 T5 T6 T7 T8 > modulo
/ / / / / / @ @
sliders #1 #2 #3 #4 #5 #6 / /
\ \ \ \ \ \ / /
pan L/R . \_____\_____\_____\_____\_____\__>Xa __>Xb
. . . . . . . .
renamed . . . . . . . .
filetags _3 _4 _5 _6 _7 _8 _1 _2
Recommended settings for these examples:
BACKUP 01 'mode', select
Idle Bckp
BACKUP 03 'Track Select', select
T1--T8 + T7T8
BACKUP 04 'Treatment', select
MonoRotate2
BACKUP 05 'T7T8 treatment', select
PolyNative
.
You get Monophonics ABC123_N.wav in AAL folders for NLEs
_1 (Xa) _2 (Xb or boom) _3 (.) _4 (.) _5 (.) _6 (.) _7 (.) _8
(.), and a Polyphonic ABC123PX.wav two track mix in AAX
folders for FOSTEX-824s.
*
Cantarem option, see p.28 for Xa/Xa+, Xb/Xb+ selection.
TUTORIAL
ONBOARD MIXER [2]
